Presented by: 24 Hour Musical Project Venue: Joigny Theatre, Stuartholme Attended: 12 April 2026 Director: Timothy Wynn Music Director: Jacob Cavanough Choreographer: Grace Clarke Photography: Loud Photography, By B'rit Creative, Creative Futures Photography Plus an enormous creative and support team! "And were there more than 24 hours a day, they’d be spent in sweet content dreamin’ away" It’s my favourite time of year! Walking into a theatre knowing that what you are about to see was put together in just 24 hours. And honestly… Singin’ in the Rain might just be the perfect storm for it. It’s one of my all-time favourite musicals too. Great choice, gang! For those unfamiliar, the 24 Hour Musical Project is exactly what it sounds like. A cast is assembled without knowing the show, a shortlist is teased, and then once the title is revealed, the clock starts. Twenty-four hours later, curtain up. No safety net, no time to overthink, just pure adrenaline and instinct! After a start that was definitely not delayed by 30 minutes… (they plan everything except the parking situation at Stuartholme), the energy in the theatre was lifted. And that theatre was full of community members, friends, and fellow artists, all ready to witness whatever chaos and brilliance was about to unfold. The 1920s-inspired wigs and costumes did a lot of heavy lifting in establishing the world quickly, leaning into classic Hollywood glamour with just enough theatrical flair. You could sense the insomnia in the room. There’s a special giddy delirium that hits when you've been awake for far too long, especially when that time is spent learning and memorising non-stop information. Every joke feels ten times funnier, every mishap is a slapstick masterpiece, and every success is like a whole group triumph. Also, immediate shoutout to the 20-piece orchestra who were operating on a completely different level. They heroically and impressively delivered a worthy performance based on mostly sight-reading. One standout for me was Benjamin Cole in the role of Cosmo Brown. His comedic delivery was divine, and his energy seemed somehow limitless. Make ‘Em Laugh had me actually laughing out loud, particularly due to the clever addition of chaotic filmed segments. Ben managed to keep it all together superbly and his voice remained remarkably strong throughout. Zach Price as Don Lockwood leaned beautifully into the old Hollywood leading man style, maintaining charm and composure while not-so-subtly eyeing the prompter like a pro. Bec Swain brought a softness and sincerity to Kathy Selden, with You Are My Lucky Star offering a genuinely lovely vocal moment amidst the drama. Her adorably delirious giggles only added to the charm. Ellen Axford was a whirlwind force in the role of Lina Lamont. Lack of sleep seemed like the secret weapon to crank up the character's crazy essence. Her melodramatic solo What’s Wrong With Me and the Duelling Cavalier film sequence were comedic high points. David Goodwin as Dexter leaned right into the madness of being a director, serving up a performance that was knowingly unhinged and utterly committed. Carly Quinn as Dora Bailey delivered a shimmering performance with strong character flair, while Kyle Armstrong gave us a smooth crooner moment in Beautiful Girls, complete with a powder blue tux and dancers draped in flowing silks. Across the ensemble, the commitment to bold, heightened character choices was a joy to watch. No one played it safe, and that’s exactly what this format thrives on. And truly, the entire cast are stellar stars in our community, each finding their moment to shine within the madness. Also worth noting, articulation and accents across the cast were surprisingly strong considering the circumstances. But by Act 2, things became delightfully loopy. I am fairly certain some performers were seeing double by the end. There were moments where I genuinely wondered if the cast knew what they were saying anymore. Prompter delays became punchlines. Timing mishaps between band and actor became comedy beats. But the cast supported each other beautifully, never breaking character (much), no matter what went wrong. More memorable moments: All I Do Is Dream of You had excellently tight choreography and infectious energy. The fact that any choreography existed at all, let alone moments of cohesion, is honestly remarkable in this format. Moses Supposes (the tongue-twister nightmare) was attempted with full tap choreography… bravo Zach and Ben! Broadway Melody showcased the orchestra at their absolute best, with the cast giving it everything they had left in the tank. The filmed sequences, very likely shot in the early hours of the morning, added an extra layer of humour The real pie-in-the-face moment A couple of early onstage falls in the first 10 minutes (hopefully everyone was okay!) The accidental house lights moment… whoops! And a special mention to Andrew CP’s demonstration of the “talking picture" This kind of performance requires a very specific skill set. Strong memory, excellent sight-reading, quick instincts, and the ability to just go with it when things inevitably go off track. And this cast rose to that challenge with heart, humour, and an incredible sense of community. The 24 Hour Musical Project is a reminder of just how much talent exists within our local community, and how powerful it is when those artists are given the space to simply create together. The audience was rapturous throughout, all sharing in the same unpredictable experience. If you ever get the chance to see one of these shows, take it. No two are ever the same of course. And sitting in that audience, surrounded by a room full of people cheering them on, it was very clear… this was one of those “you had to be there” nights. And I’m very glad I was!

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

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

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

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

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

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

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

Title: Jagged Little Pill Presented By: NAPA Ensemble Genre: Contemporary Musical / Drama Synopsis: Inspired by Alanis Morissette’s seminal album, Jagged Little Pill is an exhilarating musical exploring raw emotion and contemporary social issues. The Healy family appear to be a picture-perfect suburban household, but beneath the surface they are struggling with trauma, identity, and connection. As their lives begin to unravel, they must confront difficult truths about themselves, their relationships, and the world around them. The show explores themes of addiction, mental health, sexual assault, race, and healing. Audition Date: Saturday April 18th, 2026 (Dance Call & Video Due) Saturday April 25th, 2026 (Callbacks) Audition Time: April 18th from 4PM (Dance Call) April 25th from 6PM (Callbacks) Audition Location and Address: West End Studio, 3 Stevenson Ct, Burleigh Heads QLD Audition Self-Tape Due: Saturday April 18th, 2026 at 11:59 PM Audition Requirements: Video audition - Two contrasting contemporary songs (90 seconds each) in the style of the show Dance call required (except for Mary Jane and Steve) Callbacks as required Audition Registration: Complete the Audition Form to register Audition Pack: Jagged Little Pill Audition Pack Performance Dates: July 9 - 19th, 2026 Performance Times: Thursdays to Saturdays - 7PM Sundays - 2PM & 7PM Rehearsal Dates: Mondays, Wednesdays & Saturdays commencing Saturday May 2nd, 2026 Rehearsal Times: Mondays & Wednesdays 6:30PM - 10PM Saturdays 2PM - 6PM View full rehearsal schedule HERE Rehearsal Location: NAPA Studios Warnings: Contains mature themes including sexual assault, trauma, addiction, substance abuse, mental health, racism, homophobia, and strong language Performer Age: 18+ (must be 18 by start of rehearsals) Creative Team: Director - Hunter Wall Choreographer - Kim Reynolds Vocal Director - Jonathan Whitlow Musical Director - Laila Chequer de Souza Production Website: NAPA Ensemble - Jagged Little Pill Other Information: Attendance at rehearsals is mandatory unless prior conflicts are submitted An intimacy coordinator will be engaged for the production All unavailabilities must be declared at registration Available Roles / Character Breakdown: Mary Jane Healy – Female-presenting, 40–50, Mezzo-Soprano (F3–F5) Frankie Healy – Female-presenting POC, 16, Mezzo-Soprano (F#3–F#5) Nick Healy – Male-presenting, 18, Tenor (Eb3–Bb5) Steve Healy – Male-presenting, 40–50, Baritone (A3–A5) Jo – AFAB gender non-conforming, 16, Alto (E3–G5) Phoenix – Male-presenting, 16, Tenor (E3–Bb5) Bella – Female-presenting, 18, Mezzo-Soprano (F#3–A5) Andrew – Male-presenting, 18, Tenor (F#3–A4) Ensemble – Any gender, multiple featured roles including doctors, parents, students, and community members Casting Requirements: Frankie must be played by a female-presenting person of colour Jo is open to AFAB gender non-conforming performers

Kinky Boots - Swich Up Productions  (no, it’s not misspelt – it’s short for Ip swich !) Ipswich Civic Centre Book by  Harvey Fierstein Music & Lyrics by  Cyndi Lauper Director : Adrian Carr Musical Director:  Julie Whiting Choreographer : Holly Leeson Photography: Kris Anderson "Be yourself; everyone else is already taken." For this production of Kinky Boots, Ipswich did not come to play! The Civic Centre foyer was full of boots, glitter, and people who clearly understood the assignment. Maybe it was the pre-show runway, or maybe it was the reputation of Swich Up Productions, now firmly cemented as an award-winning company. Either way, for a one-weekend-only season, this was a must-be-there event. And what an event it was. The story follows Charlie, who inherits his family’s struggling shoe factory and, through an unexpected partnership with drag performer Lola, sets out to save it in a most unconventional way. Kinky Boots  explores growth, shifting perspectives, leading with kindness, and looking beyond the surface. At the centre of it all was Carl de Villa as Lola, stepping into the role just three weeks before opening. If you didn’t know, you’d never guess! Carl was completely at home, bringing a cheeky confidence and effortless charisma that never wavered. Vocally, they soared, with Hold Me in Your Heart  landing as a true highlight — soulful, glamorous, and emotionally grounded (in a white gown that absolutely delivered). There was a playful ease to the performance that made Lola instantly loveable and undeniably magnetic. And not to be weird, but their legs deserved their own applause. Conor Ensor as Charlie anchored the show with emotional weight. Vocally, he was rock solid. Those belts are no joke! But it was his acting that cut through. Charlie’s downward spiral was uncomfortable in the way it needed to be: harsh, messy, and recognisably human. Audience members audibly reacted to his unwarranted cruelty, a testament to how effectively the performance landed. Soul of a Man  became an intense emotional release, charged with power and control by Conor. You found yourself rooting for him, while also begging him to make better choices. Jaime O’Donoghue as Lauren was a scene-stealer. She leaned fully into Lauren’s awkward chaos with impeccable comedic timing and a beautifully easy vocal in her solo The History of Wrong Guys . I love that the show tries so hard to convince us she is not a catch with the sweater, the pigtails, the brash accent… and respectfully, I did not believe it for one second. Jaime completely overruled that narrative with her sheer star quality. Dominic Bradley as Don was thoughtfully handled, evolving beyond a close-minded bully into something far more accepting. There was a subtle shift across his performance that allowed the audience to soften towards him without ever fully letting him off the hook. It made his arc land with more weight than I expected it would. Abby Page’s Nicola was perfectly insufferable (compliment!) Sharp, polished, and just the right amount of cutting, she leaned into the role with confidence, making every appearance deliciously frustrating in the way only a well-played antagonist can be. Fiona Buchanan and Simone Behrendorff grounded the factory world with personality and humour. Their presence added a sense of history and community warmth to the space, making the stakes of the factory’s future feel more tangible and personal. The Angels brought unstoppable energy every time they hit the stage. Slick, cohesive, and clearly having a fabulous time, they lifted the pace of every number they were in. A special mention to Isaac Brown, whose punchy rock-pop vocals in In This Corner  cut through with soaring clarity and fierce attitude. Visually, there was plenty to take in. The set didn’t just sit at the back of the stage, it surrounded the performers from all sides, creating a fully realised world that transported us straight into a British factory. Detailed brickwork, an upper-level office, moving staircases, and conveyor belts — yes, fully functioning conveyor belts — were not just impressive but cleverly embedded into the choreography by Holly Leeson. Lighting and projections were outstanding, particularly in split scenes, and the handcrafted props added lovely authenticity. There was a clear sense of care in every visual choice. And then there were the costumes. The Angels? Iconic. Wigs, makeup, costumes, and boots were exactly the right amount of flamboyance that you want from Kinky Boots . Every time the Angels hit the stage, the energy jumped several levels… as it should. Lola’s wardrobe and wigs became an event in itself too. Musically, the production packed a punch. Under Julie Whiting’s direction, the blend of live band and EDM elements gave the score a driving, high-energy edge, with numbers like Sex Is in the Heel  hitting with a club-like dazzle. The ensemble harmonies were clear and bright, featured actors shone with ease, and there was a shared momentum that carried right through the show. The Most Beautiful Thing in the World  stood out with its full-bodied, resonant vocals, while What a Woman Wants  took the crown for me. Of course, there were a couple of small hiccups. At times, muffled dialogue was hard to catch over the underscoring. A persistently ringing phone during Not My Father’s Son  also pulled focus from what should have been one of the show’s most tender moments — and you could feel the audience collectively losing their patience each time it rang again. Apologies to the cast. Theatre etiquette is such a peeve of mine. Revisiting this show again after almost a decade since it came to QPAC, what stayed with me most was the heart of the piece. This is a production that celebrates individuality without apology. It champions openness, kindness, and the courage to be unapologetically yourself. It does not tiptoe around its message either: drag is not niche… "drag is mainstream", it is powerful, and it belongs. And when it’s all wrapped up in big voices, bold visuals, and a cast clearly having the time of their lives… how could you not say yeah? Be yourself. Be loud. Wear the boots!

Messa Da Requiem – Queensland Ballet Glasshouse Theatre, QPAC With Queensland Symphony Orchestra, Canticum Chamber Choir, Brisbane Chorale, and Opera Queensland Choreographer:  Christian Spuck Music:  Giuseppe Verdi Conductor:  Simon Hewett Set Designer:  Christian Schmidt Costume Designers:  Emma Ryott, Christopher Parker Lighting Designers:  Martin Gebhardt, Elfried Roller Chorus Director:  Emily Cox Dramaturg:  Claus Spahn Featured Singers:  Naomi Johns (Soprano), Cassandra Seidemann (Mezzo-Soprano), Kyle Stegall (Tenor), Jeremy Kleeman (Bass-Baritone)   Watch out, Timothée Chalamet, because we’ve got both ballet and  opera going on at QPAC. With more than 140 performers packed onto the stage and an orchestra ready to shake the walls, Messa Da Requiem  wastes no time reminding you just how powerful live performance can be.   Written back in 1874, Verdi’s Requiem  transforms this traditional Catholic funeral mass into something far more theatrical . This is not your traditional narrative ballet. There’s no neat storyline to follow or main character to latch onto. Instead, choreographer Christian Spuck tackles big, overwhelming, sometimes uncomfortable truths. And he does it by letting the music lead, trusting Verdi’s monumental score to carry us through the experience.   One of the coolest elements of this production is how blurred the lines are between different art disciplines. The choir doesn't just stand there like musical statues; they move, shape the space, and become part of the choreography. The 110 choristers move in waves, ripple through canon patterns, and shift across levels to constantly reshape the enclosed stage. Without any theatre wings, performers appear and disappear through the back corners, adding a sense of mystery, like figures emerging from memory and slipping away again. Trumpeters play from above, surrounding the audience. There’s no clear separation between pit and stage, singer and dancer, sound and movement. Everything feeds into everything else. Right from the start of Requiem et Kyrie , you’re hit with slow, intentional movements and striking stage visuals. Then, BOOM… Dies Irae (Day of Wrath) hits. If you haven’t heard this piece, you’ve got to give it a listen. Preferably loudly. It’s the most recognisable section of the work and easily the most relentless. It absolutely erupts in the new Glasshouse Theatre. The crashing drums and blazing brass bring out the terror of Judgement Day, with a nonstop urgency. The Queensland Symphony Orchestra delivers it with such force it almost feels seismic. The choir’s voices are unified and urgent, while dancers covered in ash contort and pulse through the chaos like an bug being tortured under a magnifying glass. There's a moment where the whole group surges across the stage in a frenzy like ants, and it's somehow both completely wild but incredibly precise.   The visuals kept surprising me too. The stage is surrounded by these towering grey walls that turn out to be blackboards, and later get covered in chalk scribbles that looked like signatures from where I was sitting. Some tables and chairs are constantly shifted and reworked to create new levels and areas. A movable light box creates stunning silhouette shadows of the dancers, especially in a pas de deux where lift after lift sends clouds of ash drifting into the air. There’s even a moment where dancers scale the wall like they’ve suddenly become gravity-defying creatures (very Spider-Man).   The choreography itself is a rich blend of classical ballet and contemporary movement. There are some delicate and lyrical pointe work, contrasted with almost primal floor work. The dancers crawl, roll, and ripple through the space like a swarm of insects. Then, just as quickly, everything goes still. There are also some truly beautiful smaller moments woven throughout. The pas de trois is fluid and sculptural, while a later pas de deux paired with the Agnus Dei  features soft, interconnected movement and genuine tenderness. A section featuring a dozen partnered couples moving in sync was particularly striking. During the tenor solo, stillness is used to great effect, with dancers (including the men) appearing in tulle gowns, bare backs turned away from us, moving in hypnotic unison.   Vocally, the work is just as impressive. Cassandra Seidemann’s mezzo is rich and velvety, with a grounded warmth that carries beautifully, while Kyle Stegall’s tenor rings out with clarity and precision, slicing cleanly through the texture. Jeremy Kleeman’s bass-baritone provides a deep, resonant foundation that anchors the sound. And then there’s Naomi Johns, whose soprano soars effortlessly above the 110 voices of the choir and cuts through the orchestral swell… honestly unfair how easy she makes it sound.   The Sanctus  gives the choirs a chance to really shine, and it’s thrilling to hear that many voices working together with such clarity and power. The a-cappella quartet section is another standout for its restraint… although, unfortunately, it was interrupted by an audience phone ringing not once, not twice, but four times! A gentle reminder that live theatre etiquette is still very much a thing (we beg of you).   What I appreciated most about this production is how immersive it feels. Not in a gimmicky, interactive way, but in the sense that you’re completely surrounded by it. The sound, the movement, the sheer scale of bodies on stage, it all pulls you in. There are moments of beauty, moments of intensity, and moments that are deliberately unresolved. This isn’t a light, easy watch. It gets slow in places, highly introspective, and is unapologetically dramatic. But if you enjoy opera, choral and classical music, ballet, contemporary dance, or simply witnessing what a huge group of artists can create together, there is so much to admire here.   It’s one of those experiences I'm very glad I didn’t miss, even if I wouldn't hurry back right away. Still, I'm pumped to see what Queensland Ballet and Opera Queensland have in store this season, and I might even check out a performance by the Queensland Symphony Orchestra, Brisbane Chorale, or Canticum Chamber Choir while I'm at it.

Title: Singin’ in the Rain - Senior Presented By: Brisbane Arts Theatre Genre: Musical Theatre Synopsis: Set in 1920s Hollywood, Singin’ in the Rain follows silent film star Don Lockwood as the industry transitions to “talkies.” When his leading lady Lina’s voice threatens their success, aspiring actress Kathy Selden steps in—sparking romance and chaos. Audition Date: April 18th, 2026 Audition Time: 1PM - 4PM Audition Location and Address: Brisbane Arts Theatre, Suite 3a/70 Prospect Terrace, Kelvin Grove QLD 4059 Audition Requirements: All applicants must be 55+ Please provide a headshot on the day Prepare a 'read' for the character you are interested in (Audition Reads found HERE) Please prepare an excerpt of a theatrical/ Broadway upbeat song of no more than 2 minutes. You must bring a recorded backing track that can be connected to a Bluetooth speaker. You may be asked to sing some simple vocal exercises to determine vocal range. Prior to the audition, please learn the choreography snippet in the video HERE. Ensure you wear comfortable clothes and shoes you can easily move in and bring your water bottle. You will be learning additional choreography on the day. Tap shoes are not required, but please bring them along if you own a pair. Audition Registration: Complete the online registration HERE Audition Pack: Singin' in the Rain Senior Audition Pack Performance Dates: July 2nd - 11th, 2026 Performance Times: 5PM Sunday evening 7PM all other evenings Performance Location: Southbank Tafe, 66 Ernest St, South Bank Rehearsal Dates: April 23rd - July 1st, 1016 Rehearsal Times: Tuesdays & Thursdays - 6PM - 9:30PM Sundays - 12PM - 7PM Rehearsal Location: Lavalla Centre, 58 Fernberg Road, Paddington Warnings: Requires singing, dancing (including tap), and physical movement. Time commitment required for rehearsals. Performer Age: 55+ (Senior version) Creative Team: Directors - Adelle O’Connell & Kath Kunde Musical Director - Laraine Griffiths Choreographer - Marisa Bucolo Production Website: Brisbane Arts Theatre - Singin' in the Rain Senior Other information: Audition form will request personal details, vocal range, and conflicts Cast members are expected to commit to rehearsals and attendance requirements. Available Roles/Character Breakdown: Don Lockwood (M) Cosmo Brown (M) Kathy Selden (F) Lina Lamont (F) Dora Bailey (F) Roz (F) R.F. Simpson (M) Roscoe Dexter (M) Young Lady (F) Miss Dinsmore (F) Zelda Zanders (F) Teacher (M/F) Other Ensemble (M/F) Kathy’s Girls / Chorus Girls (F) – for those with strong dance abilities Singers – for those with mobility considerations