Title: Junior IMPACT Ensemble 2026 Presented By: Empire Youth Arts Genre: Youth Theatre / Performance Program Synopsis: Since 2011, The Empire Youth Arts’ IMPACT Ensembles have been challenging the assumptions made about young people and their crucial role in our changing world and its future through storytelling and performance. Junior IMPACT offers young creatives aged 10-14 and based in the Toowoomba Region*, the opportunity to share a story which speaks authentically and powerfully with the voice of young people. Audition Date: March 9th & 12th, 2026 Audition Time: 3:30PM - 6PM (individual timeslots assigned after application submission) Audition Location and Address: The Empire Theatre, 54–56 Neil Street, Toowoomba QLD 4350 Audition Self-Tape Due: Not applicable - in-person auditions only Audition Requirements: Prepare the scene from the audition pack (Nerry or Ed) to perform for the audition panel. Memorisation is highly encouraged. Prepare and tell a short story (maximum 90 seconds) about a time or place you really felt you belonged. Audition Registration: Submit completed application form via email to youtharts@empiretheatre.com.au or in person at the Empire Theatre Ticketing Office. Deadline: 3:00pm, March 5th, 2026. Audition Pack: Junior Impact Ensemble Audition Pack Performance Dates: July 1st - 3rd, 2026 Performance Times: Wednesday Preview - 6PM Thurs & Fri - 6:30PM Performance Location: Armitage Centre, Empire Theatre Precinct, Toowoomba QLD Rehearsal Dates: Weekly rehearsals from March through June 2026, including April school holiday intensives. Rehearsal Location: Empire Theatre rehearsal spaces, Toowoomba Warnings: This is an intensive rehearsal and performance process requiring strong attendance commitment. Performer Age: 10–14 years Creative Team: Director - Grace Sankey (Youth Arts Lead) Production Website: Empire Theatre - Empire Youth Arts Other Information: Participation fee - $495 (payable upon successful offer). Payment plans may be available. Available Roles/Character Breakdown: Junior IMPACT Ensemble – 10 ensemble performers aged 10–14. This is a devised ensemble production with no pre-assigned named characters.

The Boor Presented by Springboard Opera at Brisbane City Hall Music by: Dominick Argento Libretto by: Jon Olon-Scrymgeours Director: Emma Nightingale Conductor: Guillaume Lemay-Yates Pianist: John Woods Cast The Widow: Luisa Tarnawski The Servant: Liam Jackson The Boor: Dallas Tippet I could not think of a better way to spend a sunny Tuesday morning in Brisbane than sitting in the Lord Mayor’s City Hall Free Concert watching three opera singers verbally spar through song. Springboard Opera’s production of The Boor provided a thoroughly entertaining hour of wit, vocal fire, and theatrical charm. Dominick Argento’s comedic opera, based on Anton Chekhov’s one-act play The Bear, is compact and fast moving. It centres on a young widow who has locked herself away in mourning for her late husband, much to the frustration of her loyal but increasingly exasperated servant. Her self-imposed exile is shattered by the arrival of an irritable neighbour demanding repayment of a debt left behind by her husband. What follows is less a polite discussion and more a glorious battle of ego, pride and stubbornness, eventually escalating into a duel and something far more unexpected... Presented in the grandeur of City Hall, the performance felt perfectly suited to the space. The natural acoustics of the hall were wonderful. Even when a microphone malfunctioned early on, it hardly mattered because Luisa Tarnawski’s voice soared so effortlessly through the space that amplification felt unnecessary. Tarnawski brought both vocal power and emotional volatility to the Widow. Every mention of her late husband triggered another wave of operatic lament, and she delivered these moments with rich tone and dramatic flair. Yet beneath the exaggerated grief there was always a sense that this woman was itching for life again. Her transformation over the course of the opera was both believable and very funny to watch. Opposite her, Dallas Tippet’s Boor arrived like a thunderstorm. Blunt, smug and thoroughly unimpressed by the Widow’s dramatic mourning, he asked for his money with growing frustration, balancing comedy and bluster beautifully. His character was annoying, passionate, oddly loveable and completely convinced of his own superiority, particularly when it came to his views on women. At one point he even managed a casual vocal trill while yawning, which perfectly captured the irreverent humour of the piece. The two launched into a fierce war of words that became the driving force of the opera. Their insults flew with gleeful abandon as they debated the eternal question of who behaves worse in relationships, men or women? What began as fury slowly softened into something closer to admiration. Their arguments were less about the debt and more about two stubborn personalities discovering they might actually understand each other. Liam Jackson provided an excellent counterbalance as the long suffering servant. His character hovered between dutiful employee and reluctant therapist, attempting to snap his mistress out of her theatrical grief while also trying to manage the chaos unfolding in the drawing room. Vocally, his smooth legato phrases contrasted nicely with the Boor’s increasingly rapid outbursts. In the trio passages the contrast between all three voices became especially satisfying, with each character’s musical style reflecting their personality. By the end of the opera he looked thoroughly exhausted by the emotional rollercoaster, which made his final moments almost as funny as they were sympathetic. Director Emma Nightingale kept the staging simple and effective. The set consisted of a chaise, a piano, a windowsill, a drinks table and the looming framed portrait of the Widow’s deceased husband watching over everything. It was just enough to evoke the faded grandeur of a country manor. The surtitles were clear and bright, occasionally a fraction behind the singers but never enough to disrupt the storytelling. Since the opera was sung in English, they functioned more as helpful reinforcement than a necessity, making it easy for the audience to catch every layer of humour and emotional shift. Musically, the score moves quickly between drama and comedy. John Woods’ piano accompaniment was strong and expressive, supporting the singers without overwhelming them. Argento’s writing allowed moments of playful vocal ornamentation as well. One of the most beautiful moments arrived with the Widow and Boor duet, where the combative energy finally softened into genuine vulnerability, allowing both singers to show the warmth beneath their earlier hostility. Of course, this newfound tenderness did not arrive quietly. Their flirtation was still wrapped in insults, threats and the occasional promise to shoot one another, as any respectable operatic romance should be. “Words and tears are worthless on a man. I’ll use a language they understand. Shoot first!” It summed up the opera’s delightfully ridiculous spirit. Yet somewhere in the middle of all the shouting, insults and threats of violence, something began to soften. The lighting eased, the characters hesitated, and suddenly the furious duel started to look suspiciously like flirting. The Boor fell in love with breathtaking speed and absolutely no self control, while the Widow pushed him away even as she begged him to stay. When she shouts “Get away from me!” it becomes increasingly clear that what she really means is “kiss me, you big brute!” Springboard Opera’s production showcased the remarkable talent emerging from Queensland’s operatic community. With only three performers, a piano and a handful of props, the team created a performance that was witty, musically impressive and delightfully theatrical. In the world of opera, threatening to shoot each other can be a surprisingly effective first date.

Title: Rock of Ages: Youth Edition Presented By: Second Star Youth Theatre Genre: Musical Theatre Synopsis: Rock of Ages: Youth Edition is a high-energy, rebellious, whirlwind musical set in the world of 1980s rock ‘n’ roll. At its heart, it’s a story about chasing dreams, finding love, fighting for what you believe in, and discovering that success isn’t always easy — but it’s always worth it. Packed with big personalities, iconic rock vibes, and heartfelt moments, this youth adaptation keeps the spirit of the original while making it suitable for young performers. Audition Date: Saturday 21 March and/or Sunday 22 March (afternoon) Audition Time: Afternoon sessions (exact times provided upon registration) Audition Location and Address: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Audition Self-Tape Due: Video auditions accepted for those unavailable on audition weekend (instructions provided after registration). Audition Requirements: Auditions are run as a workshop using the iTheatrics method. No preparation is required. Participants will learn an ensemble song during the workshop and perform for the creative team. The process assesses singing, acting, movement, connection, and responsiveness to direction. All young performers aged 10–18 (as at 18 April 2026) are invited to audition, and all who audition will be cast. Audition Registration: Please complete the registration form HERE. There is no registration fee; however, the participation fee ($360) must be paid in full prior to audition day. After registering, participants will receive an invoice. Audition Pack: Rock of Ages Audition Pack Performance Dates: Saturday April 18th, 2026 Performance Times: 3PM and 6PM Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School, Cnr Cavendish Rd & Holland Rd, Holland Park Rehearsal Dates: April 13th - 17th, 2026 Rehearsal Times: 9AM – 4PM Rehearsal Location: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Warnings: Rock of Ages: Youth Edition is a PG-rated adaptation of a typically M-rated show. While explicit references have been removed, the show remains set in the world of 1980s rock culture. Performer Age: 10–18 years (as at 18 April 2026) Creative Team: Director/Music Director – Lauren McNamara Choreographer – Isabella Maric Production Contact: Email - secondstaryouththeatre@outlook.com Instagram - @secondstaryouththeatre Other Information: Participation Fee - $360 per participant (inc. GST). Fees contribute to rights, royalties, creative and technical professionals, venue hire, sets, props, costumes, marketing and more. Each participant receives a script, production t-shirt, dinner on performance day, an audition workshop, and a full intensive rehearsal week. Some costume items will be sourced from performers’ existing wardrobes. Child safety is prioritised (QLD Blue Card compliance). Refunds are only offered in extreme circumstances. Casting is at the discretion of the creative team and may include swings, understudies, double casting, or captains. An inclusive, anti-bullying environment is maintained. Available Roles / Character Breakdown: Lonny Barnett – Male | Range: Ab2–Eb4 The show’s hilarious narrator. Charming, confident, with strong comic timing and vocals. Justice Charlier – Female | Range: Ab2–Eb4 Owner of the Venus-A-Go-Go Dance Club. Warm, strong, soulful powerhouse vocalist. Dennis Dupree – Male | Range: Gb2–E4 Owner of The Dupree Room. Loyal, funny, seasoned rocker with heart. Drew Boley – Male | Range: G2–Eb4 Dreaming rock star. Romantic lead with strong tenor rock voice. Sherrie Christian – Female | Range: G3–Eb5 Small-town girl chasing her dreams. Warm, sincere, strong singer/actor. Stacee Jaxx – Male | Range: G2–B3 Over-the-top rock star. Charismatic with comic flair. Father – Male | Range: A2–E4 Sherrie’s traditional, disapproving father. Mother – Female | Range: G3–F#4 Warm, supportive, nurturing presence. Mayor – Any Gender | Range: D3–A3 Confident politician selling out the Sunset Strip. Regina – Female | Range: G3–Eb5 Passionate activist determined to save the Strip. Hilda Klinemann – Female | Range: G3–Db5 Bold, powerful German developer. Franz Klinemann – Male | Range: Db3–E4 Sweet, quirky son with a gentle voice and big dreams. Ensemble - Featured throughout as waitresses, protesters, band members, fans, agents, publicists, reporters and more. Note: Genders listed reflect the characters as originally performed; performers of all genders may be considered for all roles.

Title: Charlie and the Chocolate Factory Presented By: BG Performing Arts Genre: Family Musical / Youth Theatre Synopsis: This youth production of Charlie and the Chocolate Factory follows the world-famous Willy Wonka as he opens the gates to his mysterious factory for a handful of golden ticket winners. Together with Charlie Bucket and an army of curious Oompa-Loompas, audiences will experience chocolate waterfalls, nutty squirrels and magical adventures. Audition Date: Sunday 15th March 2026 Audition Time: Ages 6–13: 2:30 pm – 5:30 pm Ages 14–18: 9:00 am – 2:00 pm Additional 14–18 callback (if required): 4:30 pm – 5:30 pm Audition Location and Address: 12 Jamieson Street, Bowen Hills Studio, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video auditions available for those unable to attend in person (email via info@bgperformingarts.com). Audition Requirements: Participants will take part in vocal, acting and dance sessions so the creative team can assess best placement in the show. Music and dance material will be taught on the day; off-book singing and prepared material encouraged. Wear comfortable movement-friendly clothing and enclosed shoes. Bring water and anything else you may need. Audition Registration: Register via the link on the BG Performing Arts HERE Audition Pack: Available from Sunday 15th February (materials for singing/acting provided after registration). Performance Dates: Saturday April 18th, 2026 Performance Times: 2PM & 6:30PM Performance Location: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178 Rehearsal Dates: 13th - 18th April, 2026 Rehearsal Times: Mon–Thu: 9AM – 5:PM Fri: 9AM – 8:30PM (Younger students may finish early) Sat: 9AM – 9PM Rehearsal Location: Mon–Thu: Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Fri–Sat: The Star Theatre, 5 Peel Street, Manly QLD 4178 Warnings: Participants must be able to move and dance comfortably; suitable clothing and enclosed shoes are required. Students should be available for all rehearsals during the workshop week. A workshop cost of $400 applies Performer Age: Participants aged 6–18 years (must be at least 6 by performance date). Creative Team: BG Performing Arts Creative Team Production Website: BG Performing Arts - Charlie and the Chocolate Factory Other information: Workshop style production designed to develop performance skills, boost confidence and provide a nurturing environment. Participants will work with professional theatre makers. Additional costume hire fees may apply. Available Roles/Character Breakdown: Featured speaking roles available; auditions for speaking/featured roles are optional - all participants involved in singing, acting and dancing assessments. Creative team will discuss placement during auditions.

Title: 24 Hour Musical Project Presented By: The 24HMP Foundation Ltd Genre: Musical Theatre / Community Production Synopsis: A unique community fundraising event where performers, producers, and technicians come together to mount a full-scale musical production with only 24 hours of rehearsal. The show title and roles are revealed just before the rehearsals begin. Audition Date:Saturday 7 March & Sunday 8 March 2026 Audition Time: 10AM – 9PM Saturday 9AM – 5PM Sunday Audition Location and Address: Spring Hill (venue details sent after registration) Audition Self-Tape Due: Please find information for Self-Tape Auditions HERE Audition Requirements: Must be an experienced performer, aged 18+ and available for the entire 24-hour rehearsal period. Prepare two contrasting musical theatre song excerpts (~32 bars each). Participate in audition activities including vocal performance, cold-read scripts, part-singing, and dance call teaching. Audition Registration: Register to audition HERE Audition Pack: Provided upon registration - includes scene reads, audition format, and dance routine. Performance Dates: April 11th - 12th, 2026 (24-hour rehearsal + performance weekend) Performance Times: Full 24-hour cycle culminating with performance on Sunday evening. Performance Location: Event location provided post-casting. Rehearsal Dates: April 11th - 12th, 2026 Rehearsal Times: From 5:00pm Saturday to 11:00pm Sunday (intensive 24-hour period). Rehearsal Location: Spring Hill (venue confirmed after registration). Warnings: Extremely intense rehearsal schedule with limited rest — performers should be fit and prepared. $80 production fee applies upon casting to assist with catering and logistics. Performer Age: 18+ only. Creative Team: Project team will be revealed with casting details Production Website: The 24 Hour Musical Project Other information: Meals are provided during the 24-hour rehearsal, $80 production fee applies. Documentary coverage by Yellow Ball Productions will film throughout the event. Available Roles/Character Breakdown: Roles and show details are not revealed prior to audition - casting outcomes are announced immediately before the 24-hour rehearsal begins.

Title: Sister Act Presented By: Savoyards Musical Comedy Society Inc. Genre: Musical Theatre Synopsis: An uplifting musical comedy based on the hit 1992 film Sister Act. When disco diva Deloris Van Cartier witnesses a crime, she’s placed into protective custody in a convent - where her extraordinary voice transforms the struggling choir and brings joy, spirit, and groove to the community. Audition Dates : March 20th - 23rd, 2026 Audition Times: Friday 20th (PRINCIPAL), 7 - 10PM Saturday 21st (PRINCIPAL), 9 - 11:30AM Saturday 21st (ENSEMBLE), 12:30 - 5PM Sunday 22nd (PRINCIPAL), 9 - 5PM March 23rd (CALLBACKS), 7 - 10PM Audition Location and Address: Savoyards Hall, Ferguson Street, Manly (Principal) Wynnum State High School, Peel Street, Manly (Group/Ensemble & Callbacks) Audition Requirements: Prepare 2 × 60-second song excerpts showcasing vocal strength and versatility. Script sides are provided after registration - familiarise in advance; memorisation encouraged. Group auditions include taught movement and song. Bring completed audition form and colour headshot. On the day of your audition, bring your audition form, completed in full and listing ALL clashes with the show calendar and a colour headshot (minimum size 10cm X 15 cm). This is non-returnable. It is also important that you are honest in your unavailability as this helps with scheduling! Audition Registration: Email: auditions@savoyards.com.au with name, role(s) auditioning for, and accompanist needs. A confirmation with timeslot will be sent. Audition Pack: Sister Act Audition Pack Performance Dates: June 26th - July 11th, 2026 Performance Times: Fridays - 7:30PM Saturdays - 1:30PM & 7:30PM Sundays - 1:30PM Performance Location: Iona Performing Arts Complex, 85 North Road, Wynnum West Rehearsal Dates: From Sunday 29th March Rehearsal Times: 7 - 10PM Mondays & Wednesdays 12 - 5PM Sundays Rehearsal Location: Wynnum West State School, School Road, Wynnum West. Performer Age: Minimum age for this production is 18 years. Creative Team: Director – Andrew Cockroft-Penman Musical Director – Sally Faint Choreographer – Natalie Lennox Assistant Director – Adelle O’Connell Assistant Choreographer – Wallis Nersesian Production Website: Savoyards - Sister Act Other Information: On the day of your audition, bring your audition form, completed in full and listing ALL clashes with the show calendar and a colour headshot (minimum size 10cm X 15 cm). This is non-returnable. It is also important that you are honest in your unavailability as this helps with scheduling! This is an amateur production; performers will be expected to assist backstage and in theatre duties as part of participation. Available Roles/Character Breakdown: Deloris Van Cartier - An aspiring performer searching for recognition, self-determination, and community. For the role of Deloris in particular — a character written as a Black woman — we especially encourage performers who identify as Black, First Nations Australian, or part of the African diaspora to audition. Gender: female presenting Age: 21 to 40 Vocal range: F3 - F5 Mother Superior - The head of the convent. Highly principled, guarded, and deeply committed to protecting the sisters from external influence. This role can be played by a person of any ethnicity. Gender: female presenting Age: 50 to 70 Vocal range: D3 - D5 Sister Mary Robert - A postulant who was abandoned as a baby and raised at the convent. Reserved and introspective, she struggles with self-confidence and visibility. This role can be played by a person of any ethnicity. Gender: female presenting Age: 18 to 25 Vocal range: F#3 - G5 Sister Mary Patrick - A nun of the convent whose outward energy and enthusiasm are constant. Joyful, impulsive, and wholehearted, she approaches convent life—and music—with uninhibited commitment and delight. This role can be played by a person of any ethnicity. Gender: female presenting Age: 35 to 50 Vocal range: G3 – E6 Sister Mary Lazarus - A long-standing nun and the head of the choir. This role can be played by a person of any ethnicity. Gender: female presenting Age: 50 to 70 Vocal range: E3 – C5 Monsignor O’Hara - One of the senior leaders of the convent. Pragmatic and focused on financial sustainability, he is often concerned with public perception and fundraising. Despite this, he proves surprisingly open to the positive impact of the choir’s musical evolution. This role can be played by a person of any ethnicity. Gender: male presenting Age: 45 to 60 Vocal range: F3 - G4 Curtis - A nightclub owner and organised crime figure, as well as Deloris’ romantic partner. Image-conscious, controlling, and volatile, he uses charm as a means of exerting power and intimidation. This role can be played by a person of any ethnicity. Gender: male presenting Age: 30 to 40 Vocal range: A2 - Ab4 Eddie Souther - A desk officer at the Philadelphia police station and a former high school classmate of Deloris. Earnest, anxious under pressure, and deeply idealistic, Eddie longs to prove his worth—both professionally and personally. His affection for Deloris fuels his desire to be courageous and heroic. This role can be played by a person of any ethnicity. Gender: male presenting Age: 21 to 40 Vocal range: Ab2 - B4 TJ - Curtis’ nephew and one of his associates. Self-assured and highly aware of his own appeal, he moves through the world with confidence and a lack of self-reflection, rarely questioning consequences. This role can be played by a person of any ethnicity. Gender: male presenting Age: 18 to 30 Vocal range: Db3 - Eb5 Joey - One of Curtis’ associates. Outwardly smooth and performative, he is invested in projecting confidence and desirability, particularly in his interactions with women. This role can be played by a person of any ethnicity. Gender: male presenting Age: 30 to 40 Vocal range: Bb2 - Eb5 Pablo - One of Curtis’ associates. Quietly observant and loyal, he often follows the lead of others. He primarily communicates in Spanish, which adds texture and rhythm to group dynamics. This role requires speaking in Spanish, either fluently or with strong proficiency. Performers with lived experience of Spanish-speaking culture are strongly encouraged to audition. Gender: male presenting Age: 25 to 40 Vocal range top: C4 - F5 Sister Mary Martin-of-Tours - A nun of the convent who appears detached from her surroundings. This role can be played by a person of any ethnicity. Gender: female presenting Age: 40 to 60 Sister Mary Theresa - The eldest nun of the convent. Physically frail in appearance but mentally sharp and resilient, she frequently subverts expectations with her toughness and resolve. This role can be played by a person of any ethnicity. Gender: female presenting Age: 60 to 70 Ensemble (10 Female and 3 male roles) Ensemble members will typically portray multiple roles across different settings and may also serve as covers where indicated. Ensemble tracks are subject to adjustment based on casting, staging, and production needs. These roles can be played by a performer of any ethnicity.

Title: The Magic Toyshop – BCYB 2026 Winter Season Presented By: Brisbane City Youth Ballet Genre: Ballet / Dance Synopsis: A season of joy, colour and magic brought to life through classical ballet and storytelling, presented as part of BCYB’s Winter Season. Performers will be part of an ensemble bringing to stage a family-friendly classic with strong choreography and theatrical flair. Audition Date: February 15th, 2026 Audition Location and Address: BCYB Studios, Millway St, Kedron QLD 4031, Australia Audition Requirements: Register via the Typeform audition form. Prepare classical ballet technique appropriate to level (barre, centre, allegro). Attend in person or submit a video link through the form by the closing date. Audition Registration: BCYB Registration Form Performance Dates: July 10th, 2026 - January 12th, 2027 Performance Location: Brisbane Powerhouse, 119 Lamington Street, New Farm, Queensland Rehearsal Dates: Main Company: July 4 - July 12 Junior Company: July 6 - July 12 Petite Company: July 6 - July 12 Rehearsal Location: BCYB Studios, Millway St, Kedron QLD Performer Age: Seeking dancers aged 7+ Creative Team: BCYB Artistic and ballet masters team, including Janine McGrath (Artistic Director & Founder) and others Production Website: Brisbane City Youth Ballet - The Magic Toyshop Auditions Other information: COSTS Main Company - $1300 Junior Company - $1100 Petite Company - $770 A non-refundable 50% deposit of your assigned Company Level (above) is due by FEBRUARY 23 to secure your position. The remaining non-refundable 50% is due by APRIL 6. A compulsory media fee of $220/family and compulsory uniform requirements will be collected through an online payment link also by APRIL 6. External additional costs include shoes, undergarments, makeup, show tickets, show programs, and merchandise. All fees include GST.

Tarzan – The Stage Musical Based on the Disney film The Spotlight Theatrical Company Directed by Stuart Morgan Music Direction by Matt Pearson Choreography by Jennifer and Perrin Gilbert Photography by Clay English from Vargo Studios Fellow millennials, let’s go back to 1999. Phil Collins of Genesis has just dropped a killer soundtrack for an Disney animated film about a jungle-raised man. Fast forward to now, and Tarzan The Stage Musical  swings straight back into that era of big music and bigger heart. I strolled into Tarzan  at Spotlight Theatre all set for a nostalgia trip, and before I knew it, I was swinging through a full jungle of emotions! This production doesn’t just tiptoe into the magic of Disney. It catapults off it, vine-swinging into a wild theatrical adventure that is thrilling, acrobatic, immersive, and impressively ambitious. As a 90s kid, I instantly vibe with director Stuart Morgan. Just like me, his childhood was shaped by the Disney Renaissance and those animated classics that taught us life’s most important lesson: singing absolutely solves everything. This production honours the emotional core of the story while embracing theatrical spectacle, creative risk, and a level of scale that genuinely made me whisper, “Seriously, what was their budget?!" Set deep within the African jungle, Tarzan  follows a young boy orphaned after a tragic shipwreck and a run-in with a leopard, who is raised by a family of gorillas. Taken in by the gentle Kala after she loses her own baby, Tarzan grows up learning the rhythms of jungle life, but as he matures, he begins to question where he truly belongs. When a group of humans arrive to study the wildlife, including the adventurous Jane Porter, Tarzan finds himself caught between two worlds. Before the show even begins, the jungle is alive . The "animals" roam the auditorium, interacting with the audience and being “fed” with $1 cups of animal feed available from the theatre bar. So playful and immersive, and immediately lowers the fourth wall. This is theatre that wants to drag you right into the wild world, not just sit there like a frog on a log. Stepping into the cool, dark air of Halpin Auditorium, the sound of crashing waves surrounds you. A scrim reveals an old-world map projection, with a ship sailing towards Africa. The ocean grows rough, the sound swells, and suddenly Father, Mother, and Baby Tarzan are caught in the storm, tumbled by the sea and fighting for survival. These opening moments are cinematic, tense, and beautifully staged. Then the set is revealed… Designed by Stuart Morgan and Peter Maden , this jungle is everywhere! It's as if they gathered every green and brown fabric they could find, knotted them, and hung them up to make the stage wings so densely decorated that performers had to pull them aside like curtains to enter. Upstage, a ladder climbs to a platform and a gigantic tree trunk dominates the space, opening to reveal a treehouse constructed from shipping crates... Tarzan’s first home. The lower section opens for more transformations, and cleverly integrated behind the environment is the twelve-piece band. From the opening number “Two Worlds”, the ensemble’s physicality knocked my socks off. Bare feet of course, backs hunched, weight dropped low, and plenty of grunts. Did the ensemble genuinely study gorilla movements for weeks?! It certainly looks that way! While they obviously cannot walk fully on their knuckles, they incorporate knuckle-based gestures and hunched stances with impressive commitment. The upper-body strength of the rope climbers is unreal, and the ensemble never drops character, even in the background. Watch them closely, there are some very funny choices happening. At the heart of it all is Flynn Anderson as Tarzan. After Brock Drinkwater was accepted into WAAPA (congrats!), he had to step away from the production, allowing Flynn to step in! Though his role has few words, his acting is precious, sincere, and captivating. Flynn communicates beautifully through movement, stillness, and presence. Plus, his singing voice is outstanding. In “Son of Man” (a song I've definitely listened to over a hundred times), the cast delivers everything I could have hoped for. The transition from young to grown Tarzan is slick, capped off with an incredible acrobatic (leap-flippy-feet) move that I cannot even explain, only applaud. Later, in “Strangers Like Me,” there's a minor timing issue between Tarzan, the band, and the offstage harmony, but Flynn powers through with his stunning tone. He truly has the voice of a Disney prince, which is quite fitting given his name. Someone please stage Aladdin  immediately so Flynn can star in it. Alannah Eyerich is a sensational Jane Porter. She leans fully into the proper British accent and fast-talking curiosity, crafting a Jane who is youthful, excitable, intelligent, and deeply passionate. Her first solo, “Waiting for This Moment”, introduces her in spectacular style, surrounded by ensemble members as flowers while an enormous (Audrey II-style) carnivorous plant attempts to make her lunch. Alannah’s voice is bright, pitch-perfect, and expressive, with gorgeous dynamic contrast and seamless register shifts. Jane's falling-in-love ballad “For the First Time” becomes a split-stage duet with Tarzan, keeping them physically separate yet emotionally connected. It is beautifully directed, with both performers equally passionate and vocally matched. Their duet “Different” sees Jane and Tarzan narrate aloud, not understanding each other’s language, while the stage explodes with visual storytelling. Vines descend from above, the ensemble leap and climb, an aerialist flies on silks (REALLY), ropes swing across, and movement ripples through the jungle. Flynn and Alannah remain the calm centre as friendship and understanding collide with the chaos. Dana Sandry as Kala is simply breathtaking, radiating warmth and maternal strength. Dressed in warm tones of orange, brown, and purple, and crimped hair with colourful clip-ins. Her voice feels like a comforting embrace, and her face is beautifully expressive; whether distorted with grief or filled with love. When she sings “You’ll Be in My Heart” to a doll baby Tarzan (who, by the way, has a hilariously full head of hair!), it hits you right in the feels with sincerity and tenderness. Perrin Gilbert as the silverback gorilla Kerchak carries low-bellied tone and simmering intensity. His singing voice carries weight, his posture screams dominance, and his almost-constant gruffness makes his emotional arc with Kala and Tarzan especially effective. On the flip side, Jonathan Whitlow as Tarzan's bestie Terk is the ultimate scene-stealer. His character is a cocktail of hilarity and sharp detail, and his song “Who Better Than Me” is my top pick for tunes that are not in the movie, paired with some of the most energetic and physically demanding choreography in the show. “Trashing the Camp” is another jaw-dropper, led by Jonathan with ferocious energy and full-throttle vocals. Young Tarzan is played by James Mitchell and Oscar Borrett (I saw Oscar), who is sweet, confident, and comfortable on stage with significant storytelling responsibility. Perrin’s real-life child Charles Gilbert plays the baby gorilla. He is adorable… until he is eaten by the leopard. Spoiler alert. I have genuinely never seen a kid so young on stage before! Harrison Salter as the Leopard is so convincing I wonder if he was raised by actual cats. He moves on all fours with feline agility, slinking through the aisles, across the stage, and up the ladder in total silence. The Tarzan versus Leopard stage combat is epic, staged with clarity and care, and plays as a battle of instinct versus intelligence, agility versus strength. Joe Bourke adds another splash of warmth and humour as Professor Porter, playing him as an excitable scientist and doting dad. His cheerful embrace of Tarzan, his fascination, and his affection for his daughter are clearly portrayed in "Like No Man I’ve Seen." Meanwhile, Daniel Carson steps in during Act Two as the arrogant, dogmatic antagonist Clayton. Zak Drew makes a heartfelt comeback as Tarzan’s father for "Everything That I Am" alongside Flynn and Oscar. Additionally, Nicolette Ditchburn's breathtaking atmospheric vocals drift through the jungle like mist every now and then. The live music is an absolute jackpot. Under the direction of Matt Pearson , the band turns up the volume, with the percussion leading the way! It felt like a second heartbeat pounding within me. Costumes by Pina Crisafulli Omeros are richly textured fabrics, paired with deeply contoured makeup, dirtied skin, and wild hair. The gorilla makeup on Terk, Kala and Kerhak in particular is stunning and deserves special recognition (but I don’t know who to credit, sorry!). Lighting by Leonnie Jones and Ariana Sinner paints the jungle floor with layered patterns and lush colours, while projections by Stuart Morgan mark the passage of time and shifting worlds. Nick Willner's sound design is immersive, featuring bird calls, gunshots, roaring animals, and more. The choreography by Jennifer and Perrin Gilbert blends naturalistic movement with modern technique, showcasing the cast's remarkable endurance as they deliver backing vocals while in constant motion. Each dancer is a dynamo, wholeheartedly committed, and highly skilled. Seriously, what’s in the water on the Gold Coast?! The talent coming out of this region is extraordinary, with performers shaped by training grounds like NAPA, SEPAC, Spotlight Youth, and beyond; enabling Spotlight Theatre's performances to consistently excel in choreography and casting. If you want a swinging good time, you absolutely need to catch Tarzan – The Stage Musical . It’s got storytelling that will make you grin like a chimp, mind-blowing routines, stunning vocals, and epic production values. Even the bows were a spectacle!

From the very first downbeat, this concert made it abundantly clear that this was not going to be a polite evening of string quartet. Nope, this was strings unleashed . The event, hosted by Nicholas Tam in partnership with Honour Productions, began with an exhilarating rendition of Adele’s Rolling in the Deep. The performance showcased four outstanding string musicians, accompanied by keyboard and drums, all enhanced by dramatic programmed lighting, swirling fog, and a fully electrifying sound experience. Free earplugs were provided at the entrance, as the performance was magnificently loud and immersive! One of the most impressive elements of the performance was the cohesion between the instrumentalists. With string superstars Kat Augustakis (Violin I), Nyssa Corney (Violin II), and Asa Deacon (Violin III), alongside Sam Hewerdine on keys, Mitchell Patullo on guitar, Julian Sagan on bass, and Nathanael Clyde Tadle on drums. With no conductor, this ensemble was completely locked in with each other, listening attentively and responding instinctively. The setlist itself was clearly curated with purpose, personality, and a deep love of music spanning all genres. And this year’s song choices were absolutely fire! The program dipped into classical territory with Fauré’s Pavane Op. 50  and Corelli’s Christmas Concerto , offering moments of elegance and restraint before launching straight back into contemporary and film. Nicholas Tam on cello beautifully led Hans Zimmer’s Time  from Inception . The slow tempo, rich tone, and low pulsing orange lights created a moment that begged the audience to close their eyes and simply feel. It was cinematic, meditative, and quietly breathtaking. Then came Test Drive  from How To Train Your Dragon by John Powell, and honestly.... goosebumps from the first note. Somehow, with just six instruments, the ensemble created the illusion of a full orchestra. The drive, the lift, the sheer scale of sound was astonishing. Vivaldi’s Winter received a rock-infused makeover that absolutely ripped. Cymbals crashed, the harpsichord shimmered, and each violinist had their own frantic, virtuosic solo moment. When the kick drum hit and fully synchronised lighting blasted along with it, I genuinely felt like moshing.... at a string concert. The millennial heart of the setlist then made itself known quickly! We veered into Britney Spears’ Toxic  in a killer metal arrangement, Linkin Park’s Numb , and a Green Day medley featuring American Idiot , Boulevard of Broken Dreams , 21 Guns , Holiday  and more — all expertly arranged by Kat. There was something genuinely surreal about hearing the strings absolutely slay the melody of Numb  while my brain filled in the lyrics from 23 years ago! It felt like an out-of-body experience. Nostalgia hit hard during Boulevard of Broken Dreams , where I could see Asa mouthing the words while playing. These performers weren’t just executing notes; they were living the music. They were clearly having an absolute ball onstage, and I hope they could hear the whoops, cheers, and very enthusiastic reactions coming from the audience. This was a show for all ages. I even brought along some aspiring music students of mine, and watching their faces light up was incredibly special. The lighting design deserves its own standing ovation. It went so  hard, elevating every genre shift and accentuating the drama of each piece. It was bold, dynamic, and perfectly matched to the music. Later highlights included an absolutely ferocious arrangement of Ozzy Osbourne’s Mr Crowley , arranged by Nyssa and Mitchell, complete with electric guitar solos that went all in. And of course, the Pirates of the Caribbean theme absolutely slapped! The encore was the cherry on top... Holding Out for a Hero, the Shrek 2 version, made famous by Jennifer Saunders. It was perfection. No notes. A joyous, cathartic, crowd-pleasing end to an already stellar night. This concert powerfully showcased the unlimited potential of string instruments in contemporary music. It's always a loud, thrilling, and mind-blowing experience and I look forward to the next one! May I please request Avril Lavigne's I'm With You and the scores to Spirit: The Stallion of the Cimarron and Peter Pan (2003). Photographs: Jamie Cripwell Photography

Deal With It! – Hanson Creative Presented at PIP Theatre Written by  Aimee Sheather and Aarya Dath Directed by  Aimee Sheather and Aarya Dath Set Design by  Aimee Sheather Sound Design by  Aarya Dath Producer  Emma Hanson Deal With It! by Hanson Creative is a dark comedy-thriller that manages to be sharply witty while poking at some uncomfortable truths. All with a devilish grin. Literally. Set in a Brisbane sharehouse littered with Amazon boxes, we meet couple Alix and Max, whose lives are quietly unravelling thanks to their elusive roommate Bridget. She is behind on rent, jobless, and rarely home… until suddenly everything shifts. When money appears, blood stains turn up, and suspicion starts to brew. What unfolds is a slow-burn mystery with supernatural twists, dark laughs, and a growing sense that something far more sinister is at play. Without giving too much away, Bridget has made a deal with the devil via your everyday, run-of-the-mill satanic ritual. In exchange for wealth, she becomes tangled in the manipulative grip of Zizi, a sharply dressed, smooth-talking devil who delights in pulling the strings as puppet master of Bridget’s fate. Ruby Gleeson (Max) and William Kasper (Alix) are the undeniable comedic dynamite of the show, with a rhythm that feels instinctive and easy. Ruby’s Max considers herself a detective, concocting wildly imaginative theories while concealing a little darkness of her own. William’s Alix is peak golden retriever energy, friendly, goofy, and blissfully oblivious. Their scenes consistently guaranteed plenty of giggles. Gianni-Mia Attril-Dowling gives Bridget a withdrawn, internalised intensity. Bridget is something of a hermit, often journalling her thoughts aloud to the audience rather than interacting with those around her, which creates an eerie sense of distance. Her moments of vulnerability land well and will only grow stronger with further development of the character, particularly when the themes turn toward women’s autonomy, fear, and survival. One line in particular really got me, “I don’t hate men, but it’s something I tell myself to stay sane”. Caleb Hockings is fabulous as Zizi the devil, strutting onstage in a sparkly red and black tux with a low, gruff, wonderfully theatrical delivery. His physicality and vocal precision give the character real presence, and his puppeteering of Connor Costin’s characters is cleverly staged. Even in the darker moments, humour sneaks in unexpectedly, with “Please, my cats need me!” earning a big laugh from me (cause... real). Connor also does excellent work as Paul, a man Bridget meets at a bar who is immediately unsettling. His casual entitlement quickly curdles into something far more disturbing. Kyle Armstrong also pops up as John, the Amazon delivery driver, in brief but consistently great moments; short, sweet, and always a treat! Visually, the show commits hard to its colour aesthetic. The set features towering red velvet curtains, a crimson rug, a black and red chaise lounge straight out of soap opera, a marble table, a raised stage with string pulled taut in patterns, and an ever-growing pile of Amazon boxes that anchor the supernatural story firmly in modern domestic life. It is striking without being cluttered. Sound design is particularly effective, using eerie droning textures, sharply timed effects, and music cues to signal the passage of time. Red lighting washes the stage during darker scenes, heightening the sense of danger, while fake blood makes multiple appearances. Stage combat is also well executed to add to the tension. The only consistent technical note is projection. A memorable monologue describing lucid dreams, delivered beautifully by Gianni-Mia,  would have benefited from more volume, particularly when facing away from the audience without a microphone. Direction is solid and confident, especially given this is a brand-new play written by local artists, Aimee Sheather and Aarya Dath. The script is interesting and ambitious, revealing itself slowly and trusting the audience to piece things together. I particularly enjoyed the distinct Brisbane references scattered throughout the script. Plus, well-placed references to the Daniel Craig character in Knives Out  was particularly satisfying because I have JUST recently seen it and caught the joke. Deal With It! is a rare beast, a thriller comedy that blends humour, horror, and social commentary with a distinctly Brisbane flavour. This is an ambitious, locally written work with a strong cast, clever design, and plenty of originality. With further workshopping development (split staging scenes, higher urgency, etc), it has the potential to go even further. If you like your theatre just a little bit satanic, Deal With It!  is well worth catching.

Spring Awakening – Gold Coast Little Theatre Warnings:  Mature themes, explicit sexual content, abuse, sexual assault, abortion, suicide, coarse language. Directed by: Nathan French Music Direction by : Taylor Holmes Photography: Buttery Smooth Images “The lost still walk behind you.” Adapted from Frank Wedekind’s groundbreaking and controversial play, Steven Sater and Duncan Sheik’s Spring Awakening is a rock musical that remains hauntingly relevant. Set in conservative Germany in 1891, the narrative follows a group of young teens as they grapple with the mysteries of the birds and the bees (without Google to help back then!) Among them are Melchior, a headstrong young man with self-taught knowledge of all sexual matters; Wendla, an innocent and curious girl; and the deeply anxious Moritz, who is struggling with both academics and sexual fantasies. These poor kids attempt to navigate puberty while being crushed beneath religious morality, strict schooling, and inherited shame. This leads to a compelling exploration of sexual awakening, repression, and the tragic consequences of adult neglect and ignorance. Nathan French’ s direction makes excellent use of the space, with frequent split staging allowing multiple emotional realities to coexist onstage. The raised rear platform, ladders, rigid frames, and moving set pieces — designed by Andrew Kassab — are adorned with vines and autumnal leaves, creating a striking visual contrast between natural growth and imposed restraint. The set functions as playground, prison, and battleground all at once. Georgia Ogge’ s choreography prioritises emotional truth over spectacle. Movement is often restrained and deliberate, or suddenly explosive when repression finally cracks. Combat and intimacy are handled carefully, supported by Jocelyn Moore-Carter’ s intimacy coordination; an essential safety net in a production requiring this level of vulnerability. The production uses recorded tracks rather than a live band, which proves a practical choice, with vocal direction by Taylor Holmes . That flexibility became crucial on opening night, as Jack Flanagan (Melchior) was required to project heavily through microphone issues for much of Act One. Despite this, his performance never faltered. His opening solo, “All That’s Known,” immediately showcases a stunning, controlled voice and an effortless, natural acting presence. Flanagan possesses this rare combination of vocal beauty and emotional truth (particularly impressive for an 18-year-old performer) and he anchors the production with beautiful sincerity and depth. From the moment the boys appear in Latin class, rigid with fear before their professor, the male ensemble threatens to steal the show. There is an undeniable je ne sais quoi  to this ensemble that is magnetic to watch. “The Bitch of Living” explodes with raw teenage frustration, desire, and torment. Each boy brings a distinct vocal colour, united by the pressure to succeed in a system stacked cruelly against them. Jolan Walker is excellent as the harsh authority figure, belittling Moritz with chilling realism. Emerson Bell’s Wendla is heartbreakingly believable. “Mama Who Bore Me” (the one song I knew going in) is delivered with pure, childlike curiosity, perfectly capturing a girl in bloom with no understanding of what her body is becoming. Olivia French , as Wendla’s conservative mother, embodies the damage caused by adult discomfort. When Wendla asks how babies are made, all she can offer is, “A woman must love her husband a lot.” Moments of humour and levity arrive through “My Junk,” where the cast become giddy over what seem like absurdly small curiosities: a girl’s stockings, a boy who’s good at maths. The girls soar through tight five-part harmonies, sweet and girlish in their fascination, while the boys are far more physical. Andrew Kassab’ s Hanschen is particularly memorable, hiding in the bathroom reading what he uses as erotica (it absolutely is not). “Touch Me” shifts the tone into something slower and more sensual, with Alex Holmes leading powerfully as Georg. Flanagan and Bell share a beautifully staged “The Word of Your Body,” choreographed with slow, tender touch and bathed in soft lighting. Notably, the pair never make eye contact; reinforcing that this intimacy exists in fantasy rather than reality. Bell continues to impress later in “Whispering,” a stunning number that lands with particular clarity if seated stage right. Ziggy Dutfield’ s Moritz is utterly captivating: awkward, endearing, and quietly funny at first. “And Then There Were None” is delivered with extraordinary vocal power and emotional precision (a Broadway performer reincarnated?) Please know that I wanted to cheer, but the scene ends too abruptly to allow for it! Crushed by academic failure, parental brutality, and sexual shame, Moritz begs for escape. Jolan Walker’s portrayal of Moritz’s father is genuinely distressing, screaming him into a fetal position. Dutfield and Chloe Smith's pairing in “Don’t Do Sadness / Blue Wind” offers a fleeting sense of nostalgia — of childhood, spring, and summer — before anger and despair overwhelm Moritz once more. The poetic lyricism allows both performers to explore yearning and loss with heartbreaking honesty. Laila Chequer De Souza’ s Martha brings the show firmly to real-o’clock  with “The Dark I Know Well.” As she reveals ongoing abuse by her father, the lighting turns red, the men close in, and her voice shifts from pain to rage, with a flicker of strength breaking through. Chloe Smith as Ilse joins her, offering solidarity, shared resilience, and a stunning vocal tone. Andrew Kassab and Nate Purdy are wonderful as Hanschen and Ernst; delicate, tender, and sincere in their portrayal of young queer love. Their scenes feel softly revolutionary within this rigid world. Lighting Designer Ben Vlasich uses intense green lighting patterns to support Wendla and Melchior’s encounter (where she asks him to strike her so she can “feel something” WHAT), causing a sense of unease, power imbalance, and dangerous curiosity. “I Believe” requires enormous bravery from the leads in that spotlight, and both meet the moment with courage and trust. Later, “Mirror-Blue Night” transforms the stage into a swirling, mirror-ball wash of light. Despite the heaviness of Act Two, “Totally Fucked” offers a brief, riotous release. Flanagan climbs into the audience, the ensemble swing from ladders, throw leaves, and gleefully flip us off. This musical often feels like Sex Education ... if it were set in 1891 Germany and stripped of any adult guidance whatsoever.... Speaking of, the adult world, portrayed by just two actors (Olivia French and Jolan Walker) , fails these children at every turn. Religious rigidity, institutional cruelty, and forced silence culminate in devastating consequences. Wendla’s realisation (spoiler) — “ I’m going to bear a child?! But I’m not married? ” — lands with chilling innocence. Emerson Bell is strong throughout, but this moment (and the ones following) could be pushed even further into theatrical drama/horror. “Left Behind” rips the heart out of the room, with Walker’s anguished cries echoing with very real levels of grief. “Those You’ve Known” draws us fully into sorrow, with Flanagan delivering one of the most emotionally raw moments of the night. Spring Awakening  at Gold Coast Little Theatre is bold, emotionally devastating, and deeply human. It asks difficult questions and refuses easy answers. Sit in the front row if you dare — you may leave with fog, spit, sweat, tears, and leaves on you — but you will leave changed. Highly recommended for mature audiences who are ready to listen.

Murder Incorporated Mayhem Theatre at PIP Theatre   I walked into Murder Incorporated  expecting something odd... I did not expect to leave questioning my sanity, fearing poodles, and thinking deeply about the emotional intimacy between a man and his office rug. And honestly? I had a great time!   This is a fast-paced, gleefully ridiculous farce that knows exactly  what it is and commits to it with absolutely no shame. From minute one, the cast are fully aware of the nonsense they are serving and invite the audience to be in on the joke, breaking the fourth wall early, often, and with a mischievous grin.   The premise, in theory, is simple (in practice… not so much). Murder Incorporated  is a business that hires assassins. Two new recruits (both of whom have drastically lied on their résumés) are paired together and sent out into the world to kill people. Or animals. Or… Tom Cruise-ship? From there, things escalate quickly and then continue escalating until the word “plot” becomes more of a vibe  than a structure. Stephanie Collins is an absolute comedic standout as Chad: a dorky, hyper-verbal nerd with a soul patch and a suit decorated as aeroplane-themed “plain clothes.” Chad never stops talking, mostly about deeply niche nerdy interests, and Collins commits to every ramble with sharp comedy, goofy accents, and ridiculous facial expressions.   Sean Wilson  plays Sasha, a supposed Russian assassin who is, in reality, a cat lady with twenty-four cats at home. Sean's dry delivery and strange flirtatious back-and-forth with Chad becomes one of the show’s unexpected joys. Sam Hoepner  brings unpredictability to Mr. Murder; a boss who is very genuinely, very earnestly in love with his office rug. Yes, a rug. And the rug is played by a stagehand ( Ridley Paulsen ), who repeatedly breaks the fourth wall and keeps popping out with a sheepish grin.   Then there is Dylan Clevens , who deserves a medal, a nap, and possibly a chiropractor. As the ultimate swing performer, Clevens plays everything  else — including (but not limited to) a little frail old lady, Tom Cruise-Ship (in aviators, speaking exclusively in movie titles), and the deeply unsettling Bubblegum Poodle (or something?). His physicality is relentless and hilarious. And I will probably have nightmares about that poodle mask now.   Written and directed by Amanda Harrison , the show leans hard into being in the round , with constant movement around and through the audience. The action is up close and personal. There is truly nowhere to hide from Murder Inc . You can feel how much of the show thrives on improvisation and ad-libbing, which gives it a loose, chaotic energy that suits the material perfectly. The cast’s commitment is what really sells it. Every performer throws themselves into the absurdity with full sincerity, never backing away from how ridiculous it all is.   Is the plot difficult to explain? Absolutely. Does it always make sense? Not even remotely. Did I enjoy myself? Completely.   This is theatre that does not take itself seriously and that’s its greatest strength. If you love ridiculous, chaotic, self-aware theatre, I highly recommend grabbing a very large drink (or something stronger), surrendering logic at the door, and going along for the ride.