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Title:  Legally Blonde – Semester 2 Senior Production Presented By:  Communication in Action (CIA) Genre:  Musical Theatre Synopsis: Stylish, spirited, and oh-so-pink, Elle Woods is the queen bee of her sorority – until her picture-perfect world is flipped upside down. Dumped by her boyfriend for someone “serious,” Elle makes the ultimate move: enrolling at Harvard Law to win him back. But what starts as a mission of love quickly turns into a journey of self-discovery, female empowerment, and fierce legal talent. Based on the beloved film, Legally Blonde  is bursting with catchy songs, snappy humour, and dazzling dance numbers – and this fresh CIA production promises to deliver all the sass and sparkle you can handle. Audition Date: Sunday 1st June 2025 Audition Time: Time slots to be confirmed via enrolment and audition registration. Audition Location and Address: Thomas Dixon Centre, 406 Montague Rd, West End QLD 4101 Audition Requirements: Open to all students in Year 7 and above. Audition format and requirements will be outlined upon enrolment. No prior experience required – all levels welcome, from beginners to seasoned performers. The script will be adapted for the cast to ensure every performer gets a meaningful role. Audition Registration: Visit the CIA Website  to register and enrol.Audition times and details will be shared after enrolment confirmation. Performance Dates: Saturday 23rd August 2025 Performance Location: Thomas Dixon Centre, 406 Montague Rd, West End QLD 4101 Rehearsal Dates: July – August 2025 (Exact schedule to be confirmed and released via the CIA Acting & Musical Theatre Calendar) Required Age: Ages 12 to 25 Production Website: https://communicationinaction.net/semester-2-performance/ Other information: Cost: $500 + GST Full commitment to all rehearsals and performance date is essential. Limited spaces available – early enrolment is strongly encouraged. Character Breakdown: Elle Woods - Elle is a bubbly, upbeat sorority girl who seems superficial at first glance, but proves to be intelligent, kind-hearted, and incredibly determined. Her journey from heartbreak to Harvard Law reveals her true strength and integrity. Skill Requirements:  Strong triple threat performer – confident singer, dancer, and actor. Needs great stage presence, energy, emotional range, and comedic timing. Warner Huntington III - Warner is Elle’s ex-boyfriend, a charming but self-absorbed young man from a wealthy background. Focused on his political future, he breaks up with Elle for not being “serious” enough. Skill Requirements:  Strong singer and actor. Must be able to balance charm and snobbishness while playing the “perfect on paper” type. Emmett Forrest - Emmett is a smart, kind, and slightly nerdy law student who becomes Elle’s closest ally at Harvard. He sees her potential before she sees it herself and ultimately becomes her love interest. Skill Requirements:  Strong singer and actor. Needs emotional depth, warmth, and likeability. Paulette Buonufonte - Paulette is the outspoken, quirky hairdresser who befriends Elle and supports her journey. She provides both comedic relief and heartfelt moments, especially in her own love story. A Boston accent is a plus! Skill Requirements:  Strong comedic performer. Needs good singing skills and the ability to portray vulnerability beneath a brash exterior. Professor Callahan - A tough, intimidating law professor who serves as an obstacle for Elle. He values ambition over empathy and power over people. Skill Requirements:  Strong actor and singer with a commanding presence. Needs to convincingly shift from mentor to antagonist. Vivienne Kensington - A smart, sophisticated, and initially cold student at Harvard who is Warner’s new girlfriend. She starts off as Elle’s rival but undergoes a transformation and becomes an ally. Skill Requirements:  Strong singer and actor with a strong stage presence. Brooke Wyndham - A famous fitness instructor and former sorority sister on trial for murder. Energetic and glamorous, she is innocent but needs Elle to help prove it. Skill Requirements:  Strong dancer and singer. Needs stamina and charisma, particularly for the jump rope-heavy “Whipped into Shape” number. Enid Hoopes - An outspoken Harvard law student and feminist with strong convictions. She adds to the diverse group of personalities at Harvard. Skill Requirements:  Strong character actor with good comedic delivery. Serena, Margot, and Pilar - Elle’s three best friends and sorority sisters who serve as her Greek chorus throughout the show. They’re bubbly, high-energy, and act as her cheerleaders and inner voice. Skill Requirements:  Strong singers and dancers with comedic energy and chemistry. Kyle the UPS Guy - Paulette’s love interest. He’s confident, flirtatious, and the object of one of the show’s running gags. Skill Requirements:  Comedic timing, physical comedy, and swagger are key. Additional Roles: Kate, Chutney, Whitney, Aaron, Dewey, Store Clerks, Judge, TV Reporter, Courtroom Staff, Harvard Students, Delta Nu Sorority Members, Ensemble roles.

I had the pleasure of attending the dress rehearsal of Aquila , the brand-new ballet by 23-year-old Brisbane composer Stanlee Harris, presented by Brisbane Ballet and choreographed by Emrys Goldsworthy. It was performed alongside Morbus , and together, these works formed a bold, intimate, and deeply evocative double bill of contemporary and classical dance that both challenged and delighted me. This was not your usual night at the ballet. The entire performance was stripped back — just three dancers and three live musicians — yet it felt all the more emotionally impactful because of that minimalism. Both pieces were staged at the lovely Talbot Theatre — which, by the way, doesn’t seem to have a single bad seat.   The performance opened with Morbus , a thrilling and visceral work. The word itself means disease, sickness, plague, illness, malady — and the ballet embodied all of it. Performed to a strikingly beautiful recorded score of Vivaldi, Bach, Handel, Purcell, and Rameau , Morbus  was a sensory punch to the chest, full of raw power and contemporary movement. The stage was stark and captivating — black costumes, bright red socks, a black backdrop and harsh white overhead lighting.   Dancers Jordan Lennon, Tahlia Goldsworthy, and Rose Maloney moved through the light and darkness with astonishing quickness, their physical control and emotional expressiveness leaving me wide-eyed. Sharp, angular gestures gave way to slower, fluid sequences — every movement seemed to speak of pain and disconnect. Rose and Tahlia barely paused for breath. Their stamina was extraordinary, and they carried much of the emotional weight of the work with both grace and fury. They moved like ghosts around each other — synchronised but never connecting; sharing the same space yet existing in separate emotional planes.   Jordan Lennon, shirtless and lit from above, radiated intensity. Every visible muscle told a story beneath his skin, and his performance was a study in tension and anguish. His pas de deux with Tahlia was heartbreakingly raw. At one point, he screamed silently, his entire body contorted in pain. It was a gut-wrenching moment of full-body storytelling.   The lighting design was especially striking — harsh and oppressive, it created a sense of emotional claustrophobia. The dancers disappeared into shadow and re-emerged like flickers of thought — haunting, ungraspable, and fleeting. This sense of isolation was amplified by the dancers' lack of eye contact, their shared suffering only becoming truly apparent in the final moments. The choreography by Emrys Goldsworthy played with presence and absence beautifully. Recurring movement motifs — head rolls, twitching arms, rippling spines — created a visual language that was both unsettling and mesmerising. At times frantic, at times eerie, the choreography held me captive.   As the cello wept and the women pressed fists into their mouths, stifling silent screams before collapsing in surrender to Morbus , the work took on a theatrical, almost operatic feel. It felt like grief. Like madness. Like the invisible weight we carry but can’t name. A striking metaphor for both physical and mental illness. I may not speak the technical language of dance, but I do know theatre — and Morbus  was deeply theatrical. It stirred something visceral in me — and that, in any art form, is a triumph.   Then came Aquila  — and I was absolutely transported. This new work, composed by 23-year-old Brisbane talent Stanlee Harris, is an interstellar love story told through stars, colour, and soaring strings. Set in a fictional galaxy, the story centres on three stars caught in a web of friendship, betrayal, heartbreak, and love. It’s an abstract concept, yet it lands — largely thanks to how grounded and emotionally expressive the performers are. It’s cosmic in concept, but deeply human in feeling. I was lucky to be seated up close, where I could see the delicate play of the costume fabric and the glimmer of emotion on each dancer’s face. The lighting design was divine: washes of pinks, blues, and purples gliding across a cosmic backdrop, creating a world that shimmered with both beauty and tragedy. The music — performed live by three brilliant musicians on piano, cello, and violin — was an absolute triumph. Stanlee Harris’ score is lush, lyrical, and brimming with emotion. It began bright and sweet — a major key love theme full of warmth — for Rose and Jordan to dance their first tender duet. The choreography here was soft and sweet, a beautiful depiction of young love — innocent, hopeful, brimming with possibility. Stanlee’s score gradually darkens as the emotional landscape shifts. The lighting followed suit, transitioning into yellows, greens, and reds as we moved deeper into a more fractured, volatile galaxy. Tahlia’s ' rejection ' solo was breathtaking, set to a sorrowful, trilling piano that ached with longing — like regret made audible: delicate, haunting, and unforgettable. Her heartbreak was almost too visceral. I recall thinking, I wish I could express my own pain through dance like that.     Rose’s solo was another highlight. It built from soft vulnerability into something bold and fierce, echoing her character’s transformation. And when the love theme returned, and she and Jordan reunited in a final pas de deux, the emotional energy made me audibly sigh (in a wishful way). The way she collapsed into his arms, again and again, was poetic — a star dying in the arms of someone who never stopped loving her. Their partner work felt like a bittersweet love letter: sweet, fragile, and achingly sad.   As the anguished male figure, Jordan was magnetic, once again bringing something truly special to the role. He has this special ability to express deep emotion through movement. I noticed it when he played the Prince in Snow White  for Ballet Theatre Queensland, and it’s even more resonant here. There’s something old-world cinematic about his performance — like a dancer from a noir film — every glance, every gesture laced with unspoken longing. Aquila  and Morbus  made for a gripping double bill. They are so different — one futuristic and romantic, the other dark and primal — but together, they showcased the incredible power of movement and music to tell a story without a single word spoken. This was local, heartfelt storytelling with universal themes — all told in under an hour. As someone who doesn’t often attend contemporary ballet, this experience was such a gift. I adored the stripped-back nature of it — just three dancers, three musicians, no elaborate sets or spectacle. The intimacy made every movement matter. Emrys Goldsworthy’s choreography was detailed, emotive, and inventive — I sincerely hope I see more of his work. Thank you to Brisbane Ballet for inviting me to this beautiful dress rehearsal. If you were lucky enough to catch the performance, I’d love to hear your thoughts too. For me, Aquila  and Morbus  were a stunning reminder of how dance can move us beyond language — and how the smallest, most intimate performances often leave the deepest impact.

Title:  If/Then Presented By:  Vox Theatre Arts Genre:  Contemporary Broadway Musical Synopsis: If/Then  is a beautifully complex and heartfelt musical that follows one woman’s life across two parallel paths, exploring the intersection of fate and choice. Elizabeth, a city planner recently returned to New York, faces a pivotal crossroads. One decision leads to a life of professional success and independence, the other to love and family. With music by Tom Kitt and a book and lyrics by Brian Yorkey ( Next to Normal ), this deeply moving and modern musical explores how the smallest decisions can change everything. Audition Dates: Friday, 23 May 2025 (7:00pm–10:00pm) Saturday, 24 May 2025 (10:00am–4:00pm) Audition Times: 15-minute private sessions – book your time online Audition Location and Address: Northside Studio, 11 Buchanan Road, Banyo QLD 4014 Callback Workshop: Friday, 30 May 2025 7:00pm–10:00pm Audition Registration:   Audition Form via Website Audition Pack:   Download Audition Pack Audition Requirements: Vocal Audition: Prepare two contrasting songs (approx. 1 minute each), one must be Musical Theatre. Songs must not be from If/Then . You may be asked to complete a vocal range test. Bring your own backing track on a device compatible with an AUX cord (bring an adapter if needed). You're encouraged to act the song and show emotional connection and character. Acting Audition: Prepare one monologue or duologue scene from the provided audition sides: Audition Sides Scenes do not need to be memorised – reading from a prompt copy is fine. General American accent required for all scenes. A reader will be available for duologues. Available Roles: ELIZABETH Vocal Range:  A3 – E5 Stage Age:  38 Presenting Gender:  Female Description: Newly single and back in New York City, Elizabeth is determined to restart her life and make the right choices this time. A former grad student now recovering from a long and unhappy marriage, she is capable but not confident, ambitious yet anxious. She’s smart, straightforward, and longs for joy, though she fears it may be out of reach. This is a complex, emotionally driven leading role requiring strong vocal and acting skills. KATE Vocal Range:  A3 – F5 Stage Age:  30–45 Presenting Gender:  Female Description: A vibrant, no-nonsense New Yorker and a sparkly, tough-as-nails kindergarten teacher. Kate is an open-hearted, unapologetic feminist who lights up every room. She’s the life of the party, a supportive friend, and someone who sees the good in everyone. Her relationship with Anne brings balance and emotional resonance to the show. ANNE Vocal Range:  E4 – C5 Stage Age:  30–45 Presenting Gender:  Female Ethnicity:  All Ethnicities Description: Anne is Kate’s girlfriend and eventual wife. She is calm, rational, and grounded, providing a stabilising contrast to Kate’s exuberance. Though more reserved, she’s deeply loving and emotionally intelligent. A beautiful, mature role requiring sincerity and subtlety. JOSH Vocal Range:  C2 – A#4 Stage Age:  35–45 Presenting Gender:  Male Description: A kind-hearted, grounded man from the Midwest who served as an Army doctor and now works in medicine. Josh is confident in his professional life but unsure in love, making him endearing and relatable. His romantic journey with Elizabeth is central to the storyline. LUCAS Vocal Range:  B2 – G#4 Stage Age:  30–40 Presenting Gender:  Male Description: A passionate, intellectual activist and blogger who is deeply principled and emotionally intense. Lucas is a free-spirited urban farmer with a rebellious streak, challenging societal norms and fiercely loyal to his ideals and friends. Sexuality is fluid and an important part of his character’s journey. DAVID Vocal Range:  A#2 – A4 Stage Age:  30–40 Presenting Gender:  Male Description: Lucas’ boyfriend and a successful surgeon. David is charming, grounded, and quietly confident, with traditional values and a warm heart. His scenes require vulnerability and genuine emotional connection. STEPHEN Vocal Range:  D3 – D4 Stage Age:  35–45 Presenting Gender:  Male Description: A suave and politically savvy city official who blends idealism with realism. Stephen is ambitious, smooth, and occasionally manipulative. He’s attractive, knows it, and is unafraid to use it. Requires charisma and nuance. ELENA Vocal Range:  E4 – C5 Stage Age:  25–30 Presenting Gender:  Female Description: Bright-eyed and recently graduated with an MA in Urban Studies, Elena is enthusiastic, ambitious, and eager to learn. She becomes Elizabeth’s protégé and represents fresh hope and forward momentum. ENSEMBLE (4–6 Performers) Stage Ages:  25–45 Description: A diverse and vital part of the New York City world. Ensemble members will portray various citizens and have opportunities for featured vocal moments. Strong singers and actors needed. Movement may be included. Scheduling: Performance Dates: Preview:  Thursday 9 October Opening Night:  Friday 10 October Closing Matinee & Night:  Saturday 11 October Performance Location: Arcana Empress Theatre, 46 Evesham St, Moorooka Rehearsal Dates: Starting Sunday 13 July Rehearsal Times: Tuesdays: 7:00pm – 10:00pm Thursdays: 7:00pm – 10:00pm Sundays: 10:00am – 3:00pm Rehearsal Locations: Vox Studio (Upper Mount Gravatt) Northside Studio (Banyo) Tech & Bump-In Begins:  Sunday 5 October Cast and crew must be fully available from this date through to closing. Warnings: Themes of death, grief, and loss Profanity throughout Romantic intimacy between same and opposite-gender couples Creative Team: Director:  Hayley Gervais Musical Director:  Alex Angus Assistant Director & Choreographer:  Ruby Thompson Assistant Musical Director:  Erin Power Production Website:   www.voxtheatrearts.com Other information: This is an amateur  production; no roles are paid. Please be advised the show contains profanity and onstage intimacy. An Intimacy Coordinator will be present throughout rehearsals. Vox Theatre Arts champions diverse casting and encourages performers of all ethnicities, genders, sexualities, abilities, and backgrounds to audition. All performers must be 18+ by the first rehearsal.

Title:  As You Like It Presented By:  Vox Theatre Arts Genre:  Shakespearean Comedy / Devised Musical Theatre Synopsis: William Shakespeare’s As You Like It  is a whimsical pastoral comedy filled with disguise, romantic entanglements, wit, and wisdom. The story follows the brilliant Rosalind, who is banished from court by her villainous uncle, Duke Frederick. Disguised as the boy Ganymede, she flees to the Forest of Arden with her loyal cousin Celia and the sharp-witted court fool, Touchstone. There, she unexpectedly reunites with Orlando, her love interest who has also fled the court. What follows is a vibrant tale of love, identity, and freedom—where gender roles are blurred, hearts are tested, and love triumphs under the trees. In this exciting new production, classic Shakespearean language will be paired with live arrangements of Australian rock and folk music, offering a uniquely homegrown take on this timeless story. Audition Date: Saturday 17 May 2025 Audition Time: 9am - 2pm Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD 4064 Audition Requirements: Please prepare either: Two contrasting monologues OR One Shakespearean monologue (1–3 minutes, not from As You Like It ) AND one song (1–2 minutes) in the folk/rock style (preferably by an Australian artist). You are encouraged to accompany yourself on an instrument (guitar and keyboard provided). You may also bring your own instrument or a Bluetooth-compatible backing track. This is a devised ensemble production, so roles are not pre-defined as singing or non-singing. Come ready to showcase your creativity and versatility. Auditionees must be 18+. Audition Registration: Click here to register Audition Pack: Click here to download Available Roles: All roles are open and are listed as any age and gender-presenting as specified: Rosalind  – witty, self-assured heroine, disguised as Ganymede Orlando  – hopeful, determined, romantic lead Celia  – devoted cousin, quick-witted and loyal Oliver  – Orlando’s jealous elder brother, later reformed Touchstone  – sharp-tongued court fool, delightfully absurd Duke Senior  – the exiled, wise Duke with a Robin Hood aura Silvius  – a hopeless romantic shepherd Audrey  – a simple, charming goatherd Duke Frederick  – the power-hungry, volatile usurper Phebe  – proud and strong-willed shepherdess Jaques  – brooding, philosophical attendant to Duke Senior Performance Dates: 28 – 31 August 2025 Performance Times: Thurs 28 Aug – Preview Fri 29 Aug – Opening Night Sat 30 Aug – Matinee & Evening Sun 31 Aug – Closing Performance Performance Location: Forest Lake Amphitheatre, Forest Lake Boulevard, Forest Lake QLD 4078 Rehearsal Dates: Sunday mornings (9 am – 12 pm) and some Tuesday/Wednesday evenings (7 pm – 10 pm) First Rehearsal: Sun 8 June (Meet & Greet) Key Dates include Media Days, Full Runs, Sitzprobe, and Tech Week starting 24 Aug Full schedule provided upon casting Participants are not required for every rehearsal – schedules will reflect role and availability Rehearsal Locations: Vox Studio (Upper Mount Gravatt) Forest Lake Amphitheatre Music Director’s Studio (Auchenflower) Required Age: 18+ Creative Team: Director:  Max Kingsbury Music Director:  Molly Parker Set & Design:  Tamzen Hunter Producer:  Rhona Bechaz Assistant Director & Choreographer:  Hannah Herwin Production Website: www.voxtheatrearts.com Other Information: This is an amateur production. All performers volunteer their time and talent.

Title:   Alice in Wonderland Presented By:  Ballet Theatre Queensland Genre:  Ballet About: Ballet Theatre Queensland invites passionate young dancers to audition for their 2026 season of Alice in Wonderland . This immersive experience provides dancers with the opportunity to train and perform in a professional ballet environment. From rehearsals to full-scale performances at QPAC, this production offers a comprehensive artistic journey for developing dancers aged 8 to 22. Alice in Wonderland is a bold new ballet set in a 1930s Hollywood sound stage, where syncopated tea parties, flamingo showgirls, and film-noir fantasy collide. With original choreography by Clare Morehen, a dazzling jazz-infused score by Lucas D. Lynch, lucious costumes by Rebekah Ellis and fantastical sets by Josh McIntosh, this is adventure like you’ve never seen before. Lights, Camera.... Wonderland! Audition Registration: Applications are now open and close 5pm, Friday 6 June Apply Now Audition Date: Junior Apprentice and Junior (Ages 8+):  Saturday 14 June 2025 Intermediate and Senior:  Saturday 21 June 2025 Audition Time: Dancers must be available 9am–5pm on the audition day. Final times, including potential call backs, will be emailed 1 week prior. Audition Location: 57 Hayward Street, Stafford QLD 4053 Audition Self-Tape Due (if applicable): Prior to relevant audition date (14 or 21 June) Audition Requirements: In-person audition (preferred) includes a ballet masterclass, potential repertoire, and acting exercises Video auditions must include barre and centre work (including pointe for Intermediate and Senior levels) Minimum RAD Grade 2 (or equivalent) Age 8+ as of 27 July 2025 Pointe requirements: Intermediate: minimum 1 year of pointe training Senior: minimum 2 years of pointe training Available Roles: Multiple ensemble and featured roles across four levels: Junior Apprentice (approx. ages 8–10) Junior (approx. ages 10–12) Intermediate (approx. ages 12–14) Senior (ages 14–22) Performance Dates: 19–25 January 2026 Performance Location: Queensland Performing Arts Centre (QPAC), Brisbane Rehearsal Dates: Orientation Day: 27 July 2025 Weekly rehearsals during Term 3 and 4 (Sundays) Intensive rehearsals: 21–27 September 2025 12–17 January 2026 (compulsory) Rehearsal Times: Typically 9am–5pm, Rehearsals initially at 57 Hayward St, later moving to 12 Windorah St, Stafford Warnings: Intensive rehearsal schedule; commitment to full season required Recommended Age: Dancers aged 8–22 (must meet training prerequisites) Production Website: https://btq.com.au/opportunities/alice-auditions/ Other information: Company Fee: $2,100 (includes rehearsals and performance week) Dancer Application Fee: $50 Scholarships available: Phyllis Danaher Memorial Scholarship Jodie White-Bivona Memorial Scholarship Additional bursaries available upon request Additional costs may include uniform and performance make-up, tights and shoes. All applicants must audition; no roles pre-cast Equal opportunity for dancers from all schools

When I sat down to watch Firebringer: A Stone Age Musical , I wasn’t entirely sure what to expect. I mean, I knew it was a StarKid show, so I braced myself for chaos, silliness, and probably a toilet joke or two… but nothing quite prepared me for the absolutely bonkers and joyful absurdity that unfolded at PIP Theatre. Even stone-cold sober, I was still laughing harder than I have in ages. Under the direction of Louella Baldwin (with Isabelle Quayle as assistant director and choreographer, and Benjamin Richards for musical direction), this prehistoric fever dream was a triumph of committed comedy, unexpected heart, and brilliant performers leaning into the madness with full force. It’s a credit to Baldwin’s direction that a show this campy still felt oddly grounded and coherent in its own internal logic.   From the get-go, the show leapt into action with pounding drums, a wild ensemble number, and Rae Rose’s Molag—our narrator—welcoming us to the prehistoric past. Rae is always comedy gold. They bring this magnetic, spontaneous energy that makes it feel like you are in for something unpredictable—and it's all the more hilarious because of it. Their choice of accent alone had me chuckling within seconds. It’s always a joy to watch a performer so confident and comfortable in their comedic skin.   The cast as a whole was a beautifully cohesive tribe of misfits. Lucy Ross anchored the show as Jemilla, the Peacemaker (and occasional buzzkill). Her take was beautifully balanced—authoritative without being cold, nurturing without being soft, and fabulously fluid in her queerness. She belted her heart out in “Jemilla’s Lament” and led with the kind of passion you’d expect from someone trying to manage a tribe that worships a duck as their deity. You know, the usual.   Then came Zazzalil—played by Kaitlin Evans—storming the stage with the frenzied energy of someone who’s one spark away from inventing fire, yet also one nap away from giving up entirely. Zazzalil was instantly relatable in her desperate desire to just be lazy all day. Total mood. Vocally, Kaitlin was an absolute force, as they needed to be, appearing in almost every number! “Into the Night” and "The Night Belongs to Us" closed out Act One with such power and emotional punch that I genuinely got goosebumps (likely due to Lucy's Defying-Gravity-war-cry ending). Speaking of standouts, the other Kaitlin—Kaitlyn Burton as Keeri—was an absolute riot as Zazzalil's blissfully oblivious sidekick, just floating through in her own little world. Her physical comedy was utterly insane and utterly perfect. I don’t know what she was doing half the time, but I wanted more of it. Honestly, I could’ve watched an entire spin-off about Keeri and I'd still be craving more!   Ally Hickey as Emberly and Kyle Armstrong as Grunt brought genuine sweetness to “Just a Taste,” a duet that somehow made leaf and berry sandwiches the new aphrodisiac. Their chemistry was adorably quirky, hitting that sweet spot between awkward, endearing, and downright bizarre. Then came their later number, “Paint Me,” which had me absolutely floored. Equal parts poetic and grotesque, it took the concept of poop painting (yes, you read that right) and turned it into something weirdly moving and almost…beautiful? The duo delivered it with such wide-eyed sincerity that you couldn’t help but fall in love with them a little. Plus, I’m a sucker for a well-executed harmonic duet.   Keeping the comedy alive, Christopher Batkin as Smelly Balls (yes, that’s the character’s name, and no, I won’t elaborate) and Reagan Warner as Ducker, the spokesperson for their duck deity, both leaned into the play’s ludicrous tone with full commitment. Every line was delivered with such conviction and nuance that I laughed every. single. time. And in a more grounded but equally hilarious form of comedy, Isaac Brown as the fabulously fairy-like Neanderthal was pure joy. With an air of quiet sass and a twinkle of chaos behind every movement, he brought the kind of understated camp that sneaks up on you and steals every scene. His improvisation was razor-sharp, presence magnetic, and role as part of Jemilla’s new fancy, peace-loving tribe of Neanderthals? Absolutely inspired. Madeline Harper stunned as Schwoopsie with some delightfully terrible jokes and jaw-dropping vocals in “The Night Belongs to Snarl.” All these weeks later, I still can’t stop saying Schwoopsie! I bet she can’t either. And Ruby Gleeson as Tiblyn: she went from adorable sky-holder to philosophical nihilist in about two scenes, and it was both hilarious and oddly poignant. Watching her spiral about the meaninglessness of life was such a vibe. Loretta Melit’s Chorn had literally one word—“Chorn”—but somehow kept it fresh and funny every time. No notes. Just Chorn. The group numbers were a real highlight, with “Welcome to the Stone Age” and “We Got Work to Do” absolutely nailing the big ensemble choreography (shoutout to Isabelle Quayle). The harmonies in “The Night Belongs to Us” were heavenly, and the closing duet “Together” between Zazzalil and Jemilla, followed by the full-cast finale, left the whole theatre buzzing.   Design-wise, the costumes and hair were fabulously detailed, with a charmingly DIY prehistoric aesthetic. And I cannot not mention the giant puppets—the sabretooth tiger and mammoth puppets were legitimately awesome. I hope someone kept those. I want them at my next birthday party. The 5-piece band, led by Benjamin Richards, was excellent and totally nailed the eclectic StarKid sound, complete with full marimba (cool!) and a whole lot of percussion. The audience was absolutely losing it the whole time. They were cackling, cheering, and belly-laughing like a bunch of hyenas. It was as if everyone walked in clueless (like my guest) and left thoroughly converted to the Church of the Almighty Duck. Naturally, it wouldn’t be a StarKid show without some sharp commentary hidden amidst the chaos. The act two opener “Climate Change”—featuring the completely unironic line, “Maybe we could change the climate permanently if we burn enough stuff”—was just chef’s kiss . Hilarious, painful, and disturbingly spot-on.   I’d only ever seen bits and pieces of Firebringer online, so I had no idea where it was going at any given moment—which honestly made it even better. Every twist was more bonkers than the last, and I loved every minute of it. Was it ridiculous? Absolutely. A little coarse in places? You bet. But it was also witty, musical, heartfelt, and completely joyous. This production captured the show's chaotic essence and turned it into something truly special with an incredibly talented cast. If you ever get the chance to see Firebringer , do it (it's on Youtube). And maybe bring a drink. Or a duck. Just don’t blame me when you’re still quoting ‘I don’t really wanna do the work today’ weeks later. Photos by Stage Shots and Lavender Prod

Title:  Audrey and the Enchanted Adventure Presented By:  kbe Events and Phoenix Ensemble Genre:  Children's Theatre / Adventure / Fantasy Synopsis: Audrey can’t decide what story she wants at bedtime, so her mum decides to combine her three favourites into one! But when Peter Pan comes looking for Tinkerbell, Audrey is swept away on an exciting journey. A flying mishap, a missing fairy, a tumble down the rabbit hole and a Wonderland in need of saving from a very angry Snow Queen – this might just be Audrey’s best bedtime ever! Audition Date:  Sunday 18 May 2025 Audition Time:  10:00am – 4:00pm Audition Location and Address:  The Theatre Factory, 1/433 Wondall Road, Wynnum West QLD Audition Requirements: Prepare two contrasting monologues, one of which should be aimed at children (can be from a fairytale or children’s story) Be prepared for cold reads from the script If callbacks are required, auditionees will also participate in improvisation activities High energy performances and physicality are essential All auditionees must be over 18 and hold a valid Blue Card before performances begin Audition Registration:   Register to Audition Audition Pack:   Download Audition Pack Available Roles: Audrey  – a 9-year-old girl, clever and adventurous (female presenting) Peter  – classic Peter Pan, playful and youthful (any gender presenting) Actor 1 (Femme)  – Audrey’s Mum (voice-over), Tweedle Dum, Queen of Hearts Actor 2 (Femme)  – Tweedle Dee, Caterpillar, Snow Queen Actor 3 (Masc)  – Doorknob, Snowman, Mad Hatter, King of Hearts Performance Dates: Monday to Friday, 30 June – 4 July 2025 Monday to Friday, 7 – 11 July 2025 (Performances will be released in stages depending on ticket sales) Performance Times:  10:00am and 2:00pm daily Performance Location:  Phoenix Ensemble, Beenleigh Showgrounds Rehearsal Dates:  Sundays – 25 May, 1 June, 8 June, 15 June, 22 June Rehearsal Times:  9:00am – 4:00pm Rehearsal Location:  The Theatre Factory, Wynnum West Tech Rehearsals: Sun 22 June (6pm–10pm) – Bump In Tue 24 June (7pm–10pm) – Lighting Plot Thu 26 June (7pm–10pm) – Tech Rehearsal Sat 28 June (9am–12pm, TBC) – Dress Rehearsal Sun 29 June (7pm–10pm, TBC) – Preview Warnings: High energy and physical activity required Bright lights and loud sounds (discussed and explained to audience before show) Working With Children Check required Required Age:  All actors must be 18+ Creative Team: Producer:  Kym Brown Writer / Director:  Kristen Barros Production Website:   kbenterprises.com.au Other information: This is a profit share production. All cast members will receive contracts and participation agreements upon casting. Performances are designed to be accessible, with actors introducing themselves, their characters, and any sensory elements at the start of each show. The venue is wheelchair accessible.

The Wild West galloped into Brisbane with a yee-haw and a wink in Calamity Jane , a rollicking musical comedy about the iconic frontierswomen. Queensland Theatre teamed up with One Eyed Man Productions, Neglected Musicals, and Hayes Theatre Co., to wrangle the rebellious spirit of Calamity for a rootin’-tootin’, rip-roaring reimagining at the Bille Brown Theatre—and what a riot it was. On opening night, the saloon bar and photo op space welcomed us into the world of Deadwood, complete with piano plonking and cast members moseying through the crowd. I rocked up in cowboy boots and all—and I wasn't the only one (the dress code was Wild West chic , after all). The audience was buzzing with theatre regulars, all ready to hoot, holler, and whoop. Whether you know Calamity Jane  from American folklore, HBO’s Deadwood , or the Doris Day film (confession: I’d somehow never seen it—do I need to hunt down a VHS?), this version was a feisty, self-aware blend of homage and reinvention. The plot? When the Golden Garter Saloon mistakenly books the wrong glamorous performer, a case of mistaken identity unravels into romance, chaos, and plenty of toe-tapping tunes.   First off, a gigantic thank you to Queensland Theatre for the invitation and tickets! What an absolute treat to experience the Golden Garter Saloon from inside the action. The line between audience and cast was gleefully blurred, with us patrons treated like barflies and townsfolk of Deadwood. The cast acknowledged us like we were just another part of their rowdy frontier world. Audience members seated onstage became bar patrons (shoutout to “Joe the Barman” on opening night), and Brisbane references were tossed around like whiskey shots throughout the script. There was even a running gag about surviving Cyclone Alfred – because yes, this plucky team worked around a natural disaster to get here (even if it was anticlimactic, as Naomi joked). The show’s scrappy charm was no accident—director Richard Carroll steered the reins with clever abandon, bringing along his full posse of creative cowpokes to give this golden-age gem a fresh coat. He found the perfect rhythm, charging through high-energy gags while allowing tender moments to breathe. The production leaned into the show’s old-school melodrama while layering it with meta-humour and modern cheek. It was intentionally rough-edged, self-referential, and practically dared you not to have a good time. The fourth wall? Kicked open like a swinging saloon door. The only instrument on stage? A piano. Played by Music Director, Nigel Ubrihien. And that was all it needed—well, that and the powerhouse cast that could sing like nobody’s business. The cast of eight conjured an entire town. They performed with the heightened melodrama of classic Western films, peppered with cheeky modern nods and jokes that had the Brisbane theatre crowd howling. Wigs were flying, accents changed, and characters appeared and reappeared with jokes about “unlocking new characters”.   Naomi Price was a revelation in the title role. Known for her cabaret and concert work, she shattered every expectation here. Naomi Price was  Calamity Jane. And this Calamity was handful of contradictions: bold but bashful, brash but loveable, chaotic but deeply sincere. Her vocal power was undeniable, but it was her comedic and improvisational freedom, crowd-wrangling skills, and emotional depth that made her an unstoppable force. Tough as nails, quick with a quip, and heartbreakingly vulnerable—her Calamity was the kind of leading lady you cheer for, drink with, and want to hug after. Darcy Brown brought down the house as Francis Fryer. From his awkward “audition” ( Everyone Complains About the Weather ) to the chaos of Hive Full of Honey , he was a comedic hurricane—fearless, flamboyant, and fabulous. He fully committed to each madcap moment—from bar glass percussion to joining in on Calamity’s Men! number about how much she hates men (what a vibe) to quite literally squeezing himself into a corset and blonde wig to entertain the room.   Anthony Gooley brought grit and gravitas as Wild Bill Hickok, the gruff cowboy with a surprisingly soft centre. His sparring duet with Calamity ( I Can Do Without You ) crackled with fire, while Higher Than a Hawk  revealed hidden depths with gentle beauty and outstanding vocals. Andrew Buchanan wonderfully played Henry Miller, the saloon owner who insisted Susan was his “niece” (sure, mate). Juliette Coates pulled double duty as Susan Miller and Adelaide Adams, flipping between chaotic magic act and sultry starlet with a wink and a flourish. Her Adelaide number ( It’s Harry I’m Planning to Marry ) was rightfully dazzling, delivered with that perfect “don’t make me sing” diva energy, and she absolutely nailed that final high note. Her moustachioed moment in the all-male ensemble number Adelaide  was a cheeky delight. Even in a supporting role, Juliette's stage presence was effortlessly commanding.   Laura Bunting, as Katie Brown, was a quiet powerhouse. She played the aspiring actress impersonating Adelaide with endearing awkwardness and vulnerability, then closed Act I with a vocal wallop in Keep It Under Your Hat . Her duet with Calamity in A Woman’s Touch —reimagined here with a queer subtext—was gold. And in Love You Dearly , her vocals soared alongside Sean Sinclair. Speaking of Sean—his Danny was charming and the perfect counterpoint to Calamity’s emotional arc. Watching Calamity rage at Danny and Katie in a moment of heartbreak, only to break down in sobs, was honestly so relatable girly.   The real kicker, though, was the atmosphere. The cast radiated camaraderie with genuine affection in every interaction. Especially when the full ensemble came together with a banjo, mandolin, guitar, and accordion to sing The Black Hills of Dakota . I genuinely wanted to whip out a harmonica and join in. It was that  kind of show. It felt like a massive campfire hangout with your 400 closest friends, all putting on their best Southern drawl. Huge props to dialect coach Siege Campbell for keeping them up with the madness! And shoutout to intimacy coach Jacqui Somerville, whose work supported the sparkling chemistry and emotional realism that underpinned the romantic storylines. Kudos to the audience themselves—who were incredible sports, letting the cast move all around them, interact with them, and even rope them into reading lines! The finale saw the cast herding the audience out to the bar, where they kept the party going with country tunes, dancing, and a full-on post-show (triple) wedding celebration.   Design-wise, this show was a triumph. Lauren Peters’ rustic set—with swinging saloon doors, bar stools, and a wagon wheel chandelier strung with glowing bulbs—hung above the action like a prairie halo. Lighting designers Trent Suidgeest and Emma Burchell bathed the space in golden tones that shifted with the mood, from rowdy cabaret sparkle to gentle prairie dusk. Costume designer Kyla Ryman delivered one fabulous outfit after another, especially for Calamity, Susan, and Katie. The girls’ final dresses were divine and perfectly suited to each character’s arc. Cameron Mitchell’s choreography made the most of the small space and rowdy energy—especially in Windy City , which was part hoedown, part flash mob, and 100% crowd-pleaser.   There might not have been a tight plot to follow—but that wasn’t the point. We were there for the vibe. The irreverence. The spontaneous joy. We were there for Windy City  raygun dance moves, gag-a-minute staging, and the kind of show that lovingly took the mickey out of musical theatre while still revelling in it. It was theatre people making fun of theatre people—for theatre people. Like a rowdy family reunion—if your family happened to include half of Brisbane’s musical theatre scene.   Queensland Theatre only programmed one musical this year—and what a brilliant choice it was. I’ve already begged Artistic Director Dan Evans for more. This production was a beautiful celebration. Of old Hollywood musicals. Of new theatrical possibilities. Of storytelling that doesn't take itself too seriously, but still knows how to strike the heart. And we want more.

Title:   Murder on Cue Presented By:  Tugun Theatre Company Inc. Genre:  Murder Mystery / Comedy Synopsis: Murder on Cue  is a deliciously dark and witty murder mystery set in Maple Lodge, a retirement home for actors, where gossip, grudges, and dry sherry keep spirits high — until a blizzard traps everyone inside. As poison pen letters circulate, tensions rise, secrets unravel, and murder strikes. Who had it out for Sybil, the biting grande dame? Why is there a photo of a mysterious young man no one claims to know? With the home cut off from the world, it’s up to the sensible Sue, her assistant Judy, and the redoubtable resident Molly – with more than a little flair for the dramatic – to piece together the truth. This tongue-in-cheek whodunit is filled with quirky characters, big personalities, and a satisfying twist. As the residents use their theatrical flair to protect one of their own, the line between stagecraft and real life blurs in the most delicious way. Director:  Jim Dickson Writer:  Robin Jennifer Miller Audition Date:  Monday, 12 May 2025 Audition Time:  6:30 pm Audition Location and Address: Tugun Theatre Company, Tugun Village Community Centre, Corner Coolangatta Rd & Kaleena St, Tugun QLD 4224 Audition Self-Tape Due (if applicable):  Not applicable Audition Requirements: Cold reads from the script No preparation necessary, but familiarity with the synopsis and style is encouraged The director is seeking an older cast to reflect the retirement home setting Available Roles: The Staff: Sue  – Female, 40s. The manager of Maple Lodge. Calm, sensible, and no-nonsense. Judy  – Female, 30s. Sue’s cheerful and good-natured assistant. The Visitor: Gareth  – Male, 30s–40s. Sybil’s smooth but sly solicitor nephew. The Residents (Primarily 60s–80s): Molly  – Female. Intelligent, composed, and the unlikely Miss Marple of the group. Sybil  – Female. Rude, sharp-tongued, and haughty. A classic theatrical diva. Desiree  – Female. Flighty, romantic, and a little ditzy. Olivia  – Female. Grand, commanding, with a steel spine beneath the glamour. Charles  – Male. Gentle and upright with an air of old-fashioned decency. Larry  – Male. Flamboyant, theatrical, and proudly camp. Audition Registration:   https://www.tuguntheatre.org/audition Performance Dates:  8 August – 30 August 2025 Performance Location:  Tugun Theatre Company, Tugun Village Community Centre Rehearsal Dates:  To be confirmed post-casting Rehearsal Times:  Likely evenings – typically Monday and/or Wednesday

Title:  Verum Voices Presented By:  Verum Arts Genre:  A Capella / Vocal Ensemble Synopsis: Verum Arts proudly introduces Verum Voices – your soon-to-be favourite a cappella crew. We're a fresh vocal group ready to shake up the Brisbane music scene, and we're looking for passionate singers to join our debut season. All experience levels are welcome, so if you've got a voice and love harmonies, we want to hear from you! Audition Date:  Tuesday, 13 May 2025 Audition Time:  6:00 pm – 10:00 pm Audition Location and Address:  Visible Ink Youth Hub, 5 Green Square Close, Fortitude Valley QLD 4006 Audition Self-Tape Due (if applicable):  Please contact us if you're unavailable on the listed date – alternate arrangements may be made. Audition Registration:   Audition Form – Click Here to Apply Audition Requirements: Prepare approximately 1 minute of a song of your choice that best showcases your vocal ability Your song must be performed a cappella (no backing track) A starting note can be provided. You may also be asked to complete aural and pitch exercises during your audition. Rehearsal Dates:  Weekly from Tuesday, 27 May 2025 Rehearsal Times:  Tuesdays, 5:30 pm – 8:00 pm (subject to change) Rehearsal Location:  Visible Ink Youth Hub, Fortitude Valley

Title:  Titanic the Musical Presented By:  Gold Coast Little Theatre Genre:  Musical Theatre Synopsis: Titanic the Musical is a dramatic retelling of the infamous maiden voyage of the RMS Titanic, which tragically sank on April 15, 1912. This powerful Broadway musical — written before the release of the 1997 James Cameron film — focuses on the real-life crew and passengers of all classes aboard the ill-fated ship. With a sweeping, poignant score by Maury Yeston and a compelling book by Peter Stone, the musical explores the aspirations, dreams, and destinies of those aboard, weaving together historical detail and human emotion. This ensemble version requires only 20 performers who bring to life a multitude of characters, from stokers and stewards to first-class passengers and officers. Audition Date:  Saturday 3 May, 2025 Audition Time:  10-minute vocal audition slots throughout the day Audition Location and Address:  Gold Coast Little Theatre, 21a Scarborough Street, Southport If you are unable to attend audition day please email at titanic@gclt.com.au to arrange a video audition. AUDITION REQUIREMENTS: Prepare 2 contrasting songs (no movement or dance audition required). A Golden Age / Classic Broadway piece – You may select a song from Titanic . A contrasting piece – Preferably from a musical (stage or film), showcasing characterisation and vocal range. Required Audition Songs (for select characters): Mr Andrews – Mr Andrews’ Vision Fleet, Bride & Barrett – The Proposal / The Night Was Alive Audition Registration:   Register here Audition Pack:   Download here (PDF) SCHEDULING: Performance Dates: 22 August – 13 September 2025 Performance Times: Thursdays, Fridays, Saturdays at 7:30pm Sundays at 2:00pm Performance Location:  Gold Coast Little Theatre, Southport QLD Rehearsal Dates:  Starting 13 May 2025 Rehearsal Times: Tuesday & Thursday nights Sunday afternoons/evenings (full days closer to opening) Creative Team: Director:  Stuart Morgan Assistant Director:  Ricky Moss Music Directors:  Ben Harris, Shari Willner & Matt Pearson Choreographer:  Sophie Wilmot Stage Manager:  Di Morgan Production Website:   https://gclt.com.au/auditions/ Other information: The version being staged is the acclaimed 2012 ensemble revision, available to watch on BroadwayHD (subscription required) All cast and crew will need to be members. Membership is for 12months from the date membership is paid. For enquiries, email: titanic@gclt.com.au AVAILABLE ROLES: This version of Titanic the Musical  features a compact, multi-role cast of 20, with the exception of three principal roles (Mr Andrews, Mr Ismay, and Captain Smith). All other performers will portray a range of passengers and crew across the ship's social strata. Here’s a breakdown of the featured roles: Thomas Andrews Shipbuilder & Titanic Designer The moral compass of the show. He's thoughtful, observant, and filled with quiet integrity. Tenor (A2–G4) | Stage Age: 30s–40s | Slight Irish Accent | Perished J. Bruce Ismay Owner of White Star Line Ambitious and status-driven, Ismay pushes for speed to make headlines. He’s high-strung, formal, and carries the weight of leadership, making questionable decisions under pressure. Baritone (A2–G4) | Stage Age: 40s–50s | British | Survived Captain E.J. Smith Ship’s Captain A fatherly, dignified figure nearing retirement. Deeply cares for his crew and passengers, but struggles under Ismay’s pressure. His sense of duty keeps him on board until the end. Baritone (Bb2–F4) | Stage Age: 50s–60s | British (RP accent) | Perished William Murdoch 1st Officer Experienced but humble, Murdoch is a capable leader and right-hand to the Captain. On duty during the iceberg strike. Baritone (C3–F#4) | Stage Age: 30s–40s | Perished Charles Lightoller 2nd Officer Strong speaker with some solo moments. The highest-ranking officer to survive, and a key source of Titanic’s historical record. Baritone | Stage Age: 30s–40s | Survived Herbert Pitman / Henry Etches 3rd Officer & 1st Class Steward Pitman is loyal and reliable, surviving in command of a lifeboat. Etches is attentive and seasoned in first-class service. Tenor (B2–G4) | Stage Age: 30s | Both Survived Joseph Boxhall / Edgar Beane 4th Officer & 2nd Class Passenger Boxhall launches distress signals as the ship sinks. Edgar is practical and witty, trying to keep his wife Alice grounded. Bari/Bass (G2–D4) | Stage Age: 40s–60s | Boxhall Survived, Edgar Perished Quartermaster Hitchens / Isador Straus Crew & Passenger Hitchens was at the wheel during the collision and later manned a lifeboat. Straus is a wealthy, older man whose love story with his wife Ida becomes one of Titanic’s most touching. Bass/Baritone (F2–F4) | Stage Age: 50s–70s | Hitchens Survived, Straus Perished Bellboy Edward / Waiter / Stoker A young crew member who shares a poignant final moment with Captain Smith. Light Tenor or Youthful Voice | Stage Age: 14 (Casting 15+) | Perished Frederick Barrett A strong and capable stoker; the character is based on two real individuals named Barrett. His fate is left ambiguous. Tenor (A2–G4) | Stage Age: 20s–30s | Unclear if Survives Harold Bride / Wallace Hartley Bride is the young, awkward wireless operator. Hartley is the bandleader who plays until the very end. Tenor (C3–G4) | Stage Age: 20s–30s | Bride Survived, Hartley Perished Frederick Fleet / Frank Carlson Fleet is the lookout who first sees the iceberg. Carlson missed the ship entirely. Tenor (C3–G4) | Stage Age: 20s–30s | Fleet Survived Ida Straus Ida refuses to leave Isador on the ship, with the phrase “Where you go, I go.” Alto (G3-D5) | Stage: 50s-70s | Perished Alice Beane Alice is a homemaker who wishes she was a socialite. Requires an actress who can make us laugh by revealing the depths of Alice’s heart, rather than by playing her for comedy. She is like a child playing dress-up; the reality seems absurd but the fantasy is earnest. Mezzo (G2-D4) | Stage Age: 40s-50s | Survived Charles Clarke Charles aspires to be a journalist in New York City, and has every reason to believe he can succeed. Tenor (B2–F#4) | Stage Age: 20s–30s | Perished Caroline Neville Caroline is classy and kind - actually born to first class, but eloping to America with her love; she wants nothing more than to be with him, and is more than willing to sacrifice status for love. Mezzo or Soprano | Stage Age: 20s–30s | Survived Kate McGowen Strong-willed, spirited Irish immigrant travelling to a new life. Has a romantic storyline with Jim Farrell. Soprano/Mezzo (A3–F#5) | Stage Age: 20s | Survived | Strong Irish Accent Kate Mullins One of eight children, travelling with friends to America. Alto | Stage Age: 20s | Perished | Strong Irish Accent Kate Murphey Young, resilient, grew up fast due to family hardship. Alto | Stage Age: 20s | Perished | Strong Irish Accent Jim Farrell / Mr Bell / Mr Latimer Irishman and love interest to Kate McGowen. He’s earnest, grounded, and has a charming presence. He survives in the show (though not in real life). Baritone (B2–F#4) | Stage Age: 18–30 | Strong Irish Accent

Title:   Chapter Two by Neil Simon Presented By:  Spotlight Theatrical Company Genre:  Comedy/Drama Play Synopsis: George and Jennie are in love, utterly perfect for each other, and are getting married. There are just a few problems: They’ve only been dating for two weeks. George’s beloved wife has passed away. Jennie has just gone through years of counselling which culminated in a messy divorce. Meanwhile, George’s brother Leo and Jennie’s friend Faye have their own marital troubles—and their own questionable chemistry. With heartfelt insight and comedic flair, Neil Simon’s semi-autobiographical Chapter Two  asks whether finding a soulmate can happen more than once in a lifetime. Audition Date:  Tuesday 13th May Audition Time:  7:00pm Audition Location and Address:  Spotlight Theatre, 185-187 Ashmore Road, Benowa QLD Audition Requirements: Cold readings from the script (sent upon registration) Once registered, you will be contacted with your individual audition time Script and audition materials available in advance by emailing: clemshellyhalpin@gmail.com Audition Registration:   Click here for the audition application form Audition Pack:   Download audition pack here Available Roles: George Schneider  (Male, 30s–50s): A grieving widower and serious novelist, not ready to meet someone new Jennie Malone  (Female, 30s–50s): A soap opera actress recovering from a messy divorce, also not looking for new love Leo Schneider  (Male, 30s–50s): George’s brother, married, frustrated, looking for an affair but failing miserably (comic relief) Faye Medwick  (Female, 30s–50s): Jennie’s best friend, also frustrated and unsatisfied, seeking excitement but not succeeding (comic relief) Performance Dates:  21 August – 6 September 2025 Performance Location:  Spotlight Theatre, 185-187 Ashmore Road, Benowa QLD Director:  Clem Halpin Production Website:   https://spotlighttheatre.com.au/aud-call.shtml Other information: Callbacks, if required, will be held on Tuesday 20th May at 7:00pm. All auditionees will be contacted regarding results. This is a two-act play with an approximate running time of 2 hours, including an intermission.