Title: 74 Redland Grove Presented By: Sunnybank Theatre Group Genre: Musical Synopsis: 74 Redland Grove is a heartfelt musical set in 1970s Nottingham that follows the lively, chaotic Coningsby family and the magic they find in everyday life. Inspired by writer Mark’s real childhood and conversations with his mother before her passing, the show blends memory and imagination, using humour, music, and puppetry to bring family life to the stage. More than a true story, it’s a nostalgic love letter about resilience, memory, and how family connections help us heal. Audition Date: Sunday March 29th, 2026 (Callbacks March 30th if required) Audition Time: 10AM - 6PM Audition Location and Address: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD 4109 Audition Self-Tape Due: March 29th, 2026 Audition Requirements: You’ll present a 15-minute audition showcasing acting, singing, and dancing in any order. Prepare a scene using a provided character (not required to be fully memorised), two short contrasting songs (about 1 minute each), and learn a choreography piece. On the day, you’ll perform your scene twice (once with direction), sing with your own backing track, complete a brief vocal range check, and perform the dance after a quick refresher. The panel is assessing your suitability for the roles across acting, vocal ability, and movement. Audition Registration: Register for your audition by completing the online form HERE. Audition Pack: 74 Redland Grove Audition Pack Performance Dates: July 3rd - 18th, 2026 Performance Times: Wednesdays - TBC Fridays - 7:30PM Saturdays - 2PM & 7:30PM Sunday (12th July) - 2PM Performance Location: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD 4109 Rehearsal Dates: April 3rd -July 1st, 2026 Rehearsal Times: Mondays & Wednesdays - 7PM - 9:30PM Sundays - 12PM - 6PM Rehearsal Location: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD 4109 Performer Age: Performer age is not important. Actors must be confident playing the character’s listed stage-age Creative Team: Book, music, lyrics - Mark Westby Co directors - Tammy Sarah Linde & Chris O'Leary Assistant Director - Luke O'Hagan Choreographer - Jackson Poole Production Website: Sunnybank Theatre Grove - 74 Redland Grove Other information: . Puppetry experience is not essential as training will be provided but have the stamina and dexterity to operate and carry a puppet for extended periods. Actors should be confident learning and performing a Nottingham accent; dialect coaching will be provided. Available Roles/Character Breakdown: NARRATOR (H) - Human, male presenting, playing age 54 The Narrator is the anchor character of the show. He is the adult Riffs, guiding the audience through his world as a child. Human, playing age 4 RIFFS (H) - Riffs is the child at the centre of the show. Being the youngest of the children, he finds it difficult to communicate with those he doesn't have a close connection with, hence the world of puppets that he imagines. Above all, Riffs is a child, so the gender of the performer is not important, but the ability to play a child is. MARINA CONNINGSBY (H), YOUNG MC (P) - Human, female presenting, playing age 38 MC is the matriarc of the family. She is firm but fair with the children, however the daily struggles of 8 kids and an absent husband can be wearing. She has heart but doesn't always like to show it. She starts the show as a puppet but is transformed to a human actor after a diplay of true maternal love with Riffs 14 (P) / SONIA (H) / INSPECTOR (H)/ OFFICER FLIRT (P) - Human, female presenting, playing age young / puppet age 18 Vocal style: blues 14 is the second oldest sister. She provides a fair portion of the comedy of the show with her sarcastic wit. Comedic timing is important. Sonia - maternity nurse at the birth of Riffs Inspector - the police inspector in search of the missing Riffs at the Colwick Races Officer Flirt - a police office, flirt by name, flirt by nature. Often falls flat. 12 (P) / FIREMAN 2 (H) / SNOOKER PLAYER (H) - Human, male presenting, playing age open / puppet age 16 Vocal Style: proto punk 12 is the 3rd eldest sibling. He has been a troublesome child, often in trouble with the authorities, and has entered a rebellious punk phase. He doesn't want to be bothered with family, but is there when needed. Fireman 2 - primarily a dance role with some part singing Snooker Player - Jonathan's opponent during the Rachel Racks scene. Some dance. 11 (P) / FIREMAN 3 (H) - Human, male presenting, playing age open / puppet age 15 Vocal Style: country 11 is the 4th eldest sibling. He would rather stand back and watch it all happen than get involved. He and 7 are close because they like to play tricks on the others. Fireman 3 - primarily a dance role with some part singing. 7 (H) / DR THORNTON (H) - Human, male presenting, playing age 11 / Dr Thornton any age Vocal Style: rock 7 is the eldest of the younger four children. He wants to be part of the older crowd and often plays tricks on Riffs. He is confident and a prankster,. Actor will need to play a child of 11. Dr Thornton - Marina's psychiatrist. Very doctorly in a Freudian sense. 6 (H) / NURSE PET (H) / OPERA SMACK (P) - Human, female presenting, playing age 10 Vocal Style: soul 6 is the only girl of the younger siblings. She is best described as a pollyanna - wanting to be a 'good girl'. She has a close relationship with Riffs. Nurse Pet - maternity nurse at the birth of Riffs Opera Smack - the hairbrush that is used as a punishment on the children. 5 (H) / SUDSY (P) - Human, male presenting, playing age 10 Vocal Style: folk 5 is the next sibling up from Riffs. He used to be the favoured youngest child but has been replaced. He has become Riffs nemesis, often trying to get Riffs into trouble and generally making his life difficult. Sudsy - the washing machine that shares a song with Riffs before catching him in the mangle. DRAG ASH LIL (P) / EDGAR (H) / FIREMAN 1 (H) / RACHEL RACKS (P) / OPERA SMACK (P) / 16 (P) - Human playing age 30 + Vocal Styles: burlesque (Rachel Racks), opera (16), others spoken word Drag Ash Lil is a well-meaning but ultimate busy-body neighbour. Always with hair in curlers and a cigarette hanging from her mouth doling out snippets of wisdom with a snarky tone. Edgar - a paedophile that Riffs encounters on his journey home one day and the trigger for MC's change. Fireman 1 - dancer Rachel Racks - sings a burlesque number as Jonathan's 'mistress'. Sexy and sultry 16 - eldest sister, likes to think she knows all and is in charge when MC is not around. JONATHAN (P) / TOM (P) / UNCLE PETE (H) / MESTER WILSON (P) - Human, male presenting, playing age 30 + Vocal Styles: blues (Uncle Pete), ballad (others) Jonathan - MC's husband who is playing snooker down at the club when he isn't home. A helicopter husband. Tom - MC's affair, sexy and happy to serve Uncle Pete - chief fireman - one song and dance number Mester Wilson - neighbour who saves riffs from the mangle and pushes MC to get some help. MC OLD (P) Female presenting, playing age 80 + Vocal Styles: ballad Playing MC as an elderly woman on her death bed and in the coffin at the funeral. Has a duet with her younger self.

Title: One Act Plays Presented By: Mousetrap Theatre Company Inc. Genre: Comedy / Classical Theatre Synopsis: Mousetrap Theatre presents a season of one-act plays featuring two contrasting works. “Still Here Love” Written and directed by Dee Heath. Synopsis Still Here Love is a play about a group of female friends meeting up for coffee, their adventures on the way and their shared experiences of aging in a society obsessed with female youth and beauty. The play examines the weight of societal expectations on women and the shifting mindsets of women of a ‘certain age’. This original script is comedic, dramatic at times and heartfelt. We are seeking strong character actors who can embody a range of emotions and would like to be part of something different and original at this year’s One Act Festival. “Rambles On Radio” Written by Robert Scott Directed by Chris Packman. Synopsis Christopher Rambles is delighted to be performing his play on the radio with his daughter in a starring role, but others are less content with the casting. Worse still, there’s more drama behind the microphone than is going out over the air. Audition Date: Friday, March 27th, 2026 Audition Time: From 6PM Audition Location and Address: Mousetrap Theatre, 157 Sutton Street, Redcliffe, Queensland, Australia Audition Requirements: No preparation required Actors will read from the script with others at the audition May audition for one or both plays Audition Registration: Email to register and receive audition pack (Still Here Love) -deeheath438@gmail.com Enquiries for Rambles On Radio - 0403 886 458 Audition Pack: Provided upon registration (Still Here Love) Full script available online for Rambles On Radio Performance Dates: May 29 - 31st, 2026 September 18th - 20th, 2026 Performance Times: May Friday & Saturday - 7:30PM May Sunday - 2:30PM September TBC Performance Location: Mousetrap Theatre, Redcliffe Murrumba Drama Festival and other SEQ festival venues Warnings: Themes relating to aging, relationships, and interpersonal conflict Performer Age: Teens to 70+ depending on role Creative Team: Still Here Love: Writer/Director – Dee Heath Rambles On Radio: Writer – Robert Scott; Director – Chris Packman Production Website: Mousetrap Theatre - One Act Plays Other Information: Productions will tour the South East Queensland drama festival circuit Casts may participate in multiple festival performances Available Roles / Character Breakdown: Still Here Love Sandra - 70s Fabulous and vibrant woman. (Already cast) Karen 40–55 Confident, sarcastic, and warm, navigating menopause with humour. Marnie Early 40s–50s Apologetic and people-pleasing, ready for personal change. Danielle 40s–50s Intelligent and appearance-focused, resisting aging. Beautician 20s Bright and overly positive, promoting unrealistic beauty standards. Male Waiter Teen–early 20s Uninterested and gormless; strong comedic timing. Security Guard Any age Irritable, bored, and power-hungry. Young Flirty Customer Teen–early 20s Non-speaking role; present throughout. Teenage Daughter Teen Typical disengaged teenager, glued to phone. Rambles On Radio Christopher Male, 40+ Pompous radio host. Georgina Female, 20+ His nervous, stage-frightened daughter. Charlie Any gender, 30+ In charge of sound effects. Louise Female, 30+ Nit-picking and deceptive. Martin Male, 30+ Louise’s husband, unaware of her secret. Harry Male, 30+ Unexpectedly becomes a star.

Title: Cats (Youth Edition) Presented By: ROAR Academy Genre: Musical Theatre Synopsis: Based on Old Possum’s Book of Practical Cats, Cats is a high-energy musical by Andrew Lloyd Webber. On one special night of the year, the Jellicle cats gather for the Jellicle Ball, where their leader Old Deuteronomy chooses one cat to journey to the Heaviside Layer and be reborn. Blending music, dance, and storytelling, the show celebrates individuality, transformation, and community. Audition Date: Sunday March 22nd, 2026 Audition Time: 10AM - 1PM Audition Location and Address: Theatre 102, 102 Anzac Avenue, Redcliffe Audition Requirements: You do not need to prepare anything in advance unless you wish to be considered for a lead character ALL auditionees will learn as a group a small section from Mr Mistoffelees and we will ask everyone to sing this for us either solo or in a small group. All auditionees will learn a short choreo routine and perform this is small groups for the audition panel. If you wish to be considered for a lead then we would like you to also sing at least a 1min cut from any one of the following songs; Jellicle Cats, Memory, Magical Mr Mistoffelees or Macavity: The Mystery Cat. Or you can sing a cut from the song relevant to the character you wish to audition for e.g., Skimbleshanks the Railway Cat or The Rum Tum Tugger or Mungojerrie and Rumpleteazer Audition Registration: Register via ROAR Academy website prior to audition HERE Audition Pack: Roar Academy - Cats Audition Pack Performance Dates: April 18th & 19th, 2026 Performance Times: Saturday - 11AM & 7PM Sunday - 2PM & 6PM Performance Location: Theatre 102, 102 Anzac Avenue, Redcliffe, Queensland, Australia Rehearsal Dates: April 12th - 17th, 2026 Rehearsal Times: 9AM - 5PM April 12th - 16th 11AM - 8PM April 17th Rehearsal Location: Theatre 102, 102 Anzac Avenue, Redcliffe, Queensland, Australia Warnings: Physically demanding choreography Use of theatrical makeup and costumes Ensemble-heavy production requiring commitment and stamina Performer Age: Open to young performers (approximately ages 5–18) Creative Team: Youth Leader Director / Producer – Zahlee Brackstone RMT Director / Producer – Madeleine Johns RMT YOUTH Choreographers – Sienna Randall, Kayla Pehi RMT Choreographers – Mike Lapot, Meredith Johns, Jill Rowlands Technical Director Youth – Angus Pitman RMT Staging Director – Jonathan Johns Production Website: Roar Academy - Cats Other Information: Participation fee applies (covers training, costumes, and production elements) Full rehearsal schedule provided after casting Available Roles / Character Breakdown: Asparagus a.k.a. Gus: The Theatre Cat – An elderly cat whose paws tremble from old age; he spends his time reminiscing about his past exploits when he used to be a famous theatre actor. Sings – “Gus The Theatre Cat” and is in the Cats Chorus Bustopher Jones – A fat upper-class cat who is respected by all. He is described as "the Brummell of cats" due to his immaculate pelt, which resembles a tuxedo and spats. May double as Gus. This Cat will also sing in the Cats Chorus Bombalurina – A flirty and confident red queen; she is best friends with Demeter and the two share an intense hatred for Macavity. Sings "The Old Gumbie Cat" "The Rum Tum Tugger" "Grizabella: The Glamour Cat“ “Macavity” This role is a dancing cat. Demeter – A troubled and skittish queen; she is best friends with Bombalurina and the two share an intense hatred for Macavity. Sings – "The Old Gumbie Cat" "The Rum Tum Tugger" "Grizabella: The Glamour Cat“ “Macavity” This role is a dancing cat. Jellylorum – A queen who watches out for the kittens and takes care of Gus. Named after T. S. Eliot's own cat. Sings "The Old Gumbie Cat" "Bustopher Jones: The Cat About Town” "Grizabella: The Glamour Cat" (Reprise) "Gus: The Theatre Cat" This role is a dancing cat. Jennyanydots – a.k.a. the Old Gumbie Cat – She sits around all day and is seemingly very lazy, but at night, she becomes very active as she rules the mice and cockroaches, forcing them to undertake helpful functions and creative projects to curb their naturally destructive habits. Sings – "The Old Gumbie Cat“ "Bustopher Jones: The Cat About Town”. This role is a partial dancing cat. Needs to move well and will also sing in the Cats Chorus Jemima – The youngest kitten. Sweet and compassionate, she becomes the first cat to accept Grizabella when she sings alongside her in "Memory (reprise)" Sings "Grizabella: The Glamour Cat" (Reprise) "Memory". This role is a dancing cat. Victoria – a.k.a. the White Cat – A naive and shy white kitten who is known for her beauty and poise. She is a featured dancer, opening with a dance solo after "The Naming of the Cats" and is the first character to touch Grizabella. She sings in the ensemble. This role is a dancing cat. Grizabella – A former "glamour cat", ostracised by the Jellicles, who has lost her sparkle and now only wants to be accepted. An iconic role requiring a strong actress and vocalist. Sings “Memory (Prelude)” "Grizabella: The Glamour Cat“ “Memory” This role is a partial moving cat - will be expected to sing in the Cats Chorus, although mostly hidden. Mister Mistoffelees (Quaxo) – A troubled and skittish queen; she is best friends with Bombalurina and the two share an intense hatred for Macavity. Highlighted – “Mister Mistoffelees”. This role is a dancing cat. Rum Tum Tugger – A flashy and unappeasable cat who loves to be the centre of attention. A bit of a diva and a show off. His temperament ranges from clownish to serious. This is one ‘cool’ cat! Sings “The Rum Tum Tugger” “Old Deuteronomy” “Mister Mistoffelees” This role is a dancing cat. Skimbleshanks – a.k.a. the Railway Cat – An upbeat and active orange tabby cat, who lives on the mail trains and acts as an unofficial chaperone to such an extent he is considered rather indispensable to the train and station employees. Quirky, require a good character actor. Sings – “Skimbleshanks – the Railway Cat” This role is a dancing cat. Old Deuteronomy – The wise and benevolent elderly Jellicle leader who is beloved by his tribe. He tries to get the other cats to accept Grizabella all through the show. ] Sings - “Old Deuteronomy”“The Ad-Dressing of Cats” This role is a performing but not dancing cat. This Cat will also sing in the Cats Chorus. Munkustrap – A grey tabby tomcat who is the storyteller and protector of the Jellicle tribe. He is Old Deuteronomy's second-in-command and the show's main narrator Sings – “The Naming of Cats” “Invitation to the Jellicle Ball” “Old Deuteronomy” This is a dancing cat. Mungojerrie – A mischievous troublemaker, he is one-half of a notorious duo of cat burglars along with Rumpleteazer Sings “Mungojerrie and Rumpleteazer” This role is a dancing cat. Rumpleteazer – A mischievous troublemaker, she is one half of a notorious duo of cat burglars along with Mungojerrie Sings – “Mungojerrie and Rumpleteazer” This role is a dancing cat. Cassandra – A brown pointed Queen. Glamourous and snooty with a stand offish air - often partnered with Alonzo. Dancing cat and sings in ensemble. Exotica – A dark, sleek brown and cream female, similar to Cassandra in appearance. Dancing cat and sings in ensemble. Bill Bailey – A brown-and-white tom kitten. He is a playful young kitten, often performing acrobatics as well as being a strong dancer. His costume is patchy browns on a white base, suggesting he is a Bi-colour tabby and white. Carbucketty – A brown-and-white tom kitten. The name "Carbucketty" was created by T. S. Eliot for a "knockabout cat". A dancing cat and sings in ensemble. Electra – A quiet and reserved kitten. She is a young orange and black tabby female who is close to Etcetera as well as being a fan of the Rum Tum Tugger. She is a dancing cat and sings in the ensemble. Etcetera – A happy, energetic and excitable kitten who is a big fan of the Rum Tum Tugger. She is a dancing cat and sings in ensemble. Macavity – The show's only real villain and a literary allusion to the Sherlock Holmes character Professor Moriarty. He goes out of his way to terrorise the Jellicles, including seemingly employing some form of hypnosis. This part will probably be doubled – he is a dancing cat. Tantomile – Female twin of Coricopat. Both of them are perceived as intuitive or even psychic as they are the first among the tribe to sense the presence of strangers. A dancing cat who sings in the ensemble. Coricopat – Male twin of Tantomile. Both of them are intuitive or even psychic, perfectly synchronised in their movements and nearly identical in appearance. A dancing cat who sings in the ensemble. Asparagus - An elegant black and white tom often considered the "second-in command" after Munkustrap. He flirts a lot, but can still be serious, loyal and brave. Ensemble. Alonzo – A black-and-white/black-and-gold tom. Sometimes considered the third in seniority after Munkustrap as he also fights. Macavity – an ensemble character. Pouncival – A chorus character – a skittish and naughty kitten. An ensemble character. Victor - A tomcat, not alpha. Could double as Gus. Plato - is a cat mentioned in "The Naming of Cats". An ensemble character. Admetus - is an ensemble character - can be doubled with Plato.

Title: After the End Presented By: Griffith University (Student Production) Genre: Psychological Drama Synopsis: After the End by Dennis Kelly is a tense psychological drama exploring power, control, and perception in extreme circumstances. When two colleagues find themselves isolated in a bunker after a catastrophic event, their relationship shifts in unsettling ways, revealing deep insecurities, manipulation, and conflicting versions of reality. Audition Date: Friday 20 March Audition Time: From 12:30PM Audition Location and Address: Room G07 Theatre, Griffith University Gold Coast Audition Requirements: Prepare one of the provided monologues Be familiar with the Louise and Mark excerpt May be asked to read an additional monologue at the director’s discretion Audition Registration: No booking required (first in, best dressed) Audition Pack: After the End Audition Pack Performance Dates: TBC Performance Times: TBC Performance Location: Griffith University Gold Coast Rehearsal Dates: April - June (Fridays) Rehearsal Times: 8AM - 3PM Rehearsal Location: Griffith University Gold Coast Warnings: Contains mature themes, including psychological manipulation and distressing situations Performer Age: Must be 18 years or older Other Information: This is a student production Actors must be available for all scheduled Friday rehearsals Available Roles / Character Breakdown: Mark Age Range: 20s - Mark is a socially awkward office worker who has spent years feeling invisible and undervalued. Beneath his quiet exterior lies deep insecurity and resentment toward the social structures that exclude him. When given control, he attempts to rewrite the narrative and position himself as the hero. Socially awkward and insecure Obsessive and resentful Controlling and manipulative when empowered Louise Age Range: 20s - Louise is confident, intelligent, and socially adept, used to respect and admiration. In a deeply unsettling situation, her confidence shifts into strategic thinking as she works to understand and survive. Her strength lies in emotional intelligence and perceptiveness. Confident and socially capable Intelligent and perceptive Resilient and strategic under pressure

Romeo and Juliet – Written by William Shakespeare St Luke’s Theatre Society Directed by June Balfour By the time I take my seat for Romeo and Juliet , I’ve already had my complimentary wine and cheese, scoped out the bake sale, and bought my raffle tickets. The room is buzzing with conversation, people catching up like it’s a social event first and a theatre show second. Then, St Luke’s Theatre Society drops us straight into an 80s house party, and the Capulets are hosting. This is Verona viewed through a 1980s lens rather than the 14th century, and the production commits to that choice through every detail. Setting the story in the 80s brings the emotional stakes closer than you might expect. Everything feels immediate. Big reactions, heightened feelings… exactly how teenagers experience the world. The revolve keeps the action moving on set, shifting between a greenery-filled playing space with a white floral divider and Juliet’s bedroom on the reverse, with her bright bedspread, magazines scattered, and a plush Gremlin sitting on the bed. Costumes follow the same idea: Big hair, clashing patterns, bold makeup, each character arriving with a clear identity. By the time we reach the masquerade ball, it becomes a full visual spectacle. Romeo appears as gunslinger Han Solo, Juliet as Princess Leia in that perfectly virginal white, Friar Lawrence is Darth Vader, Benvolio is a Wookiee, and Tybalt channels Billy Zabka’s Karate Kid  scowl. A quick once-over with a steamer would tidy up some of the costume creases under the stage lights (I'm picky sorry!) Lillian Dowdell as Juliet is such a grounded centre in the middle of all the madness. She leans into the “sulky teen” energy, but there’s intelligence behind it too. This Juliet is a bookworm at heart, the kind of girl who would rather be studying astrology than being paraded around as someone’s future wife. Her reactions, especially opposite the Nurse and her mum, are sharp — the very obvious “please stop talking” energy. She has that perfect balance of playing the well-behaved daughter when she has to, while clearly not buying into any of it. It gives her this slightly spoiled, high-status edge, like she knows exactly where she sits in the world but doesn’t enjoy it. And her chemistry with Lachlan Gregory Hugh’s Romeo is spot on. Their first meeting is awkward, dorky, and distinctly teenage. He falls head over heels instantly, while she toys with him just enough to keep things interesting. It makes their relationship feel recognisable, not just romantic. Lachlan Gregory Hugh throws himself fully into Romeo's personality: cheeky, impulsive, and just a little bit insufferable in the way teen boys can be. When he’s banished, it is absolutely the end of the world! No perspective, no recovery plan, just pure overreaction. Giorgio Impiccini’s Benvolio is a standout actor, rocking a QLD Maroons jersey and bringing that blokey energy to the group. He shifts easily between humour and sincerity, giving Romeo something solid to bounce off when he inevitably spirals. Madelyn Scott’s Mercutio, played as a woman, is a great choice. There’s humour and bite, but also that subtle “best friend secretly in love” energy sitting underneath it, giving it a bit of an Eponine moment. She handles the text with confidence, and the denim jacket covered in pins and patches is great costuming. Gary Kliger as Friar Lawrence is easily one of my favourite performances. Sassy, dry, and completely over everyone’s nonsense, he feels like the only person in the room with a functioning brain. Every line lands, every reaction hits, and there’s a constant sense that he’s trying to help while also questioning every decision that got him here in the first place. On the Capulet side, Matthew Hobbs is genuinely intimidating as Lord Capulet. His anger towards Juliet feels uncomfortably real, especially in this modern setting. It cuts through the humour and reminds you what’s actually at stake. The fight choreography, also handled by Matthew Hobbs, is believable and intense. Jessica Fletcher as Lady Capulet makes an impact in her small scenes, all polish, social standing, and loud reactions. Ellie Bickerdike’s Nurse, on the other hand, is wonderfully frustrating. She cannot get to the point to save her life. Her rambling loops in circles, and Juliet’s reactions to her are some truly funny moments. There’s also that inappropriate interest in the young men, played right on the line between creepy and funny, though perhaps a little unnecessary. Her bedazzled velvet tracksuit also deserves its own mention! June Balfour, who also directs the production, appears as Lady Montague. She brings a composed, authoritative presence, like a tough CEO figure quietly overseeing everything from the sidelines. Troy Cations as Tybalt is all puffed-up ego, clenched jaw, and 80s attitude, like he’s permanently ready to fight someone in a car park. The bandana and silk tie belt complete the look and he fits straight into this world. Matthew Ginman as Paris leans fully into that smug, entitled “finance bro” temperament, and Eamonn Clohesy’s Prince cuts a strong figure in his brief appearances, bringing authority the moment he steps onstage in his suit and tie. The use of neutral Australian accents across the cast is a real strength. We’re hearing the original Shakespearean text, but it doesn’t feel distant or overly formal. It feels like people actually talking to each other. The clarity is excellent, the rhythm lands, and you don’t have to work to follow what’s being said. What stands out is how fresh it all feels. Lines I’ve heard a hundred times suddenly land differently, simply because of the way they’re delivered. There’s a sense of intention behind the phrasing, like the actors understand what they’re saying rather than just reciting it. It makes the language feel more personal and a lot more accessible without losing any of its tradition. The 80s soundtrack weaves through the show, underscoring transitions and party scenes with tracks like Everybody Wants to Rule the World , White Wedding , Don’t You Forget About Me , and Total Eclipse of the Heart . It leans into the nostalgia, but also keeps things moving between scenes. Another One Bites the Dust  lands with a perfectly cheeky moment, cutting through the tension in a way the audience clearly enjoys before we’re pulled straight back in. From a technical standpoint, the lighting is quite minimal. Everyone is clearly visible, but there’s room to shape the mood further. A bit of ambient sound, even something subtle, would help build the quieter moments in the evening and dawn scenes. What really works here is the way the show understands teenage emotion. Everything feels urgent and all-consuming, while the adults carry that “we are so over this” energy throughout. The final moments are handled with sincerity. The reactions to the deaths are extremely dramatic, cutting through the stylisation to remind us of the real loss at the heart of this tragic story. A special mention as well to the program design, which is a fun little addition. Styled like magazine snippets and interviews, it adds extra flavour to the characters before we even see them onstage. This Romeo and Juliet  is bold, playful, and full of personality. It leans into its creative concept without hesitation and invites the audience to go along with it.

17 Again the Musical – Beenleigh Theatre Group Presented by: Beenleigh Theatre Group Director:  Lachlan Dodd Music Directors:  Ruby Tate and Mark Mirhan Choreographer:  Meggie Ryder Assistant Choreographer:  Kaitlyn Burton Stage Manager:  Biance Riek Lighting Design:  Bryce Delany Sound Design:  Tom O'Driscoll Set Design:  Lachlan Dodd Costume Design:  Lachlan Dodd and Meggie Ryder Photography:  Creative Street and PIF Productions I love when a guilty pleasure film of mine gets the full musical theatre treatment! When I first heard that 17 Again  was being staged by Beenleigh Theatre Group as a musical, my immediate reaction was, “Wait… what?” And then immediately after that, “I need to see this!" Based on the 2009 film 17 Again  (the one with Zac Efron and Matthew Perry), the story follows Mike O’Donnell, a 35-year-old who is magically transformed back into his 17-year-old body. No time travel. No rewinding the clock. Just suddenly back in high school, which honestly sounds like a nightmare, while trying to repair the his neglectful relationships with his wife and children. Under the direction of Lachlan Dodd , with musical direction by Ruby Tate  and Mark Mirhan  and choreography by Meggie Ryder , the creative team transform the film’s fantastical premise into a fun, fast-moving and self-aware stage experience.   The set design is smart and theatrical without overcomplicating things. Three entryways give the stage dimension, one topped with a basketball hoop that becomes both scenic feature and storytelling device from the very first number, “The Star of Kennedy High.” Rolling lockers and a trophy cabinet allow for fluid transitions, while the painted stage establishes the production visually. It all feels cohesive and purpose-built rather than decorative. A few spotlights were off on the night I attended, but honestly it added to the amusement rather than distracting from it.   Greyson Vaughn  as 17-year-old Mike, also known as Mark (excellent cover name), is a brilliant leading man. His physicality is uncannily precise. I would love to know how many times he watched the film in preparation because his mannerisms were spot on. He feels like a Zac Efron/Marty McFly hybrid, bounding around the stage with the chaotic enthusiasm of a true 35-year-old suddenly gifted teenage energy again. Vocally, he is strong and expressive, particularly in “Something So Perfect,” where real emotional sincerity shines through the comedic exterior.   Patrick Lockyer  as 35-year-old Mike provides the emotional anchor. His performance in “Time for Starting,” while unapologetically demolishing a mudcake, is wryly funny and relatable. The marriage struggle sits honestly on him, and the relief in his final scenes feels truly earned rather than exaggerated. Michelle Randall brings warmth to Scarlett with “Love You Till Forever,” revealing lovely emotion that grounds the show’s romantic stakes.   Leah Erskine perfectly captures Maggie’s sulky teenage angst and mortifying embarrassment, and her duet with Greyson, “You Deserve the Best,” becomes a melting vocal moment, even with the script’s awkward unintended-crush undertones. “Gonna Show It to You,” alongside Lachlan Bretherton-Scobie as Stan, embraces its not-so-subtle-innuendo with total commitment, the humour landing just as confidently as their vocals. Wyatt Scrimgeour  as Alex delivers my personal favourite solo of the show, “Losers Don’t Ever Win,” staged from a toilet stall and powered by serious vocal firepower as he wheels himself all around the stage. Clayton Eltis  as Ned Gold fully commits to the character’s theatrical dork energy, and I mean that as the highest compliment. His reaction to seeing Mike young again is completely justified and wonderfully over-the-top. In “Tra La La,” Clayton and Vanessa Chuah’s Principal Masterson strike a perfect balance between heightened absurdity and genuine sweetness, allowing their nerdy courtship to become one of the strongest comedic moments. Vanessa also commands the stage in “Matter of Principle,” delivering a soulful, powerful vocal performance that ranks among the strongest of the show. A special mention must go to Samantha Parker  as the secretary. The lute moment had me crying with laughter for reasons I still cannot fully explain.   Hayley Morris  as Chelsea exudes wholesome girl-next-door charm while still carrying the confident sparkle of a cheerleader, creating a character that feels both approachable and self-assured. The Brittanys, Hannah Elizabeth Grace , Olivia Van Grinsven and Sian Van Blerk , power through “#BrandNewDay” with tight three-part harmonies and fierce commitment. Mic balance in this number was noticeably loud though. The live band, Mark Mirhan, Ruby Tate, Mik Farnsworth-Sempf, Hayley Gravina, Sari Rangiwai and  Dom Nicholson , are incredibly tight. Positioned at the rear of the stage, they bring fantastic energy, with drummers Jonathan Fripp and Dom Nicholson absolutely driving the Act One finale home: “The Greatest Prize.”   Meggie Ryder’s choreography sparkles in “Take a Shot,” basketballs and all, and in the salsa-infused “Make the Most of Tonight,” where Tanisha Clarke’s  vocals fuel the intense, high-energy dance sequence. At times, the featured dancers appeared slightly cautious or restrained. The partner work is expansive and dynamic, and I would love to see them fully claim the stage space available to them. The ensemble of eight demonstrate some great character choices, giving group scenes texture and personality. Push it even further and it will truly sparkle. The impact of your collective energy on the overall picture is bigger than you think.   Under the direction of Lachlan Dodd , the show never tips into excess. It is camp, yes, and the script is on-the-nose, but the cast embrace it without irony. Greyson, Clayton, and the Brittanys in particular understand the heightened style: it never feels like they are mocking the material; they are celebrating it! I also love the smaller choices and subtle film nods sprinkled throughout; they did not go unnoticed! There are plenty of blink-and-you-miss-it moments, physical details, and background character beats that reward close attention and add so much texture to the overall picture. Is the music the most unforgettable you will ever hear? Umm.. no. But is it fun? Absolutely! This production does not pretend to be high art. Instead, it embraces the absurdity of its premise while still honouring the emotional beats beneath the surface. It captures the fantastical heart of the story, balances comedy with genuine warmth, and sends the audience out smiling. For fans of the film, it is a nostalgic, high-energy night out. For everyone else, it is two hours of joy, basketballs and belting!   I recommend it wholeheartedly to anyone wanting a genuinely joyful night at the theatre.

Director : Alex Watson Musical Director: Michael Keen Producer : Sophora Cliff Production Company: A Night At The Musicals Inc. Photography : By Brit Creative I stepped into Side by Side with Sondheim  knowing I’d need to be switched on. This wasn’t a performance to just sit back and relax. This was Sondheim . Fast, intricate, emotionally layered, and absolutely nonstop musical magic. Right from the first prelude, with Sondheim’s lyrics woven over one another, the vocals, acting, and musicianship were front and centre, led by their impressive musical director Michael Keen, (who is honestly a magician). When " Merrily We Roll Along"  opened with those stunning harmonies, I immediately relaxed into it… before being launched into the lyrical marathon that followed with “ Franklin Shepard Inc.” Lachlan Greenland tackled the piece with that signature frantic energy and impressive control. This show didn’t just skim the surface of Sondheim’s catalogue. Directed by Alex Watson, we moved through Sweeney Todd , Into the Woods , West Side Story , Sunday in the Park with George , Company , Follies , Gypsy  and more, pulling out both beloved numbers and some lesser-known gems. I loved that. It felt like an intimate look into the mind of Sondheim rather than a greatest hits concert. And intimate really was the word. Set in the Underground Theatre at Brisbane Powerhouse, the space wrapped around the performers. Sitting on the side, I occasionally felt like I missed some facial expression in this semi-in-the-round setup, but it was a small trade-off for being so close to the action. The design leaned into bold, playful colour. The set echoed the show’s poster with bright tones, matched by the dress code, and the lighting design used colour, pattern and spotlights beautifully to keep the visual interest alive. Performers moved through the audience at times via a cheeky little rat run, breaking the space open. Handheld mics and minimal props kept the focus exactly where it should have been, on storytelling. And what storytelling it was. Sondheim is notoriously unforgiving. The lyrics are fast, the rhythms unpredictable, the harmonies dissonant, and breathing feels like a luxury. I found myself in awe of every single performer and musician up there. Not a whisper of struggle. Just control, clarity, and commitment. Courtney Monsma was completely captivating. There is something undeniably special about her. A genuine twinkle in her eye, a timeless, old-Hollywood tone to her voice, and an emotional honesty that pulled me in without effort. Her “ Being Alive ” was one of those moments where the room shifted. She committed to performing to all sides of the audience, fully immersed, and by halfway through I could see the emotion sitting right there on her cheeks. It wasn’t manufactured. It was lived. The song became an epiphany in real time. Sarah Morrison delivered one of my favourite moments of the night with “ Sunday in the Park with George. ” Watching her unravel while trying to physically hold a pose was both technically impressive and deeply human. Exactly what Sondheim does best. Renae Suttie brought absolute class to “ Send in the Clowns.” It was poised, controlled, and quietly devastating. She then turned around and delivered a sass-filled, razor-sharp “Ladies Who Lunch” dripping with attitude. That contrast was delicious. James Shaw stood out in his Follies  moment, while also leaning into a more unhinged, haughty Sweeney Todd earlier in the night. His presence carried both authority and unpredictability. Erica Wild was clearly having the time of her life as Mrs Lovett, and so were we. Playful, excitable, and brilliantly reactive, especially in “ Gotta Get a Gimmick ” where she fed off the audience energy with ease. Jordan Koulos had a lovely moment to shine with a stripped-back “ Johanna ,” accompanying himself on guitar with a seamless blend of falsetto and belt. There was an ease and sincerity to his performance style that made it particularly engaging. Lachlan Greenland returned later with “ Losing My Mind,” delivering the evening’s standout ballad with control and emotional clarity, showing a completely different side to his earlier high-energy work. The trio of gentlemen in “ You Could Drive a Person Crazy,” featuring James Shaw, Lachlan Greenland and Jordan Koulos, was gender-bent brilliance. Slick, funny, with tight doo-wop harmonies and choreography to match. The featured vocal quartet, Paige McKay, Liam J. O’Byrne, Laura Garrick and Josh Whitten, were the glue holding everything together. Their support in harmonies and group numbers was seamless, particularly in the fresh arrangement of “ Something’s Coming ,” which genuinely gave me goosebumps. Each of them brought strong individual presence while maintaining cohesive ensemble work. Other moments that stayed with me included the upbeat energy of “Broadway Baby, ” the biting wit of “ Little Things, ” and the sheer endurance required for “ The Miller’s Son, ” which Courtney powered through like a champion, navigating its relentless lyrics with only the tiniest of hiccups. The full company numbers were where the show really soared. “ Side by Side by Side ” was a joyful, chaotic celebration, with Courtney’s overwhelmed Bobbie tying it all together, and the finale “ Company/Old Friends ” brought the house down. A well-earned standing ovation followed. There were a few audience members who left at interval, seemingly unaware there was a second act, which was a shame, as Act Two held some of the strongest moments of the night. What I appreciated most about this production was its respect for the material. It didn’t try to overcomplicate or over-style Sondheim. It trusted the performers, the music, and the words. This was a night for musical theatre lovers. For people who enjoy being challenged and surprised. And for me, it was a reminder of just how thrilling Sondheim can be when it’s done this well.

Cast : Maddison Burridge, Billy Fogarty, Hayden Spencer Playwright: Sophocles Co-Directors: Courtney Stewart & Nigel Poulton Dramaturgy : Courtney Stewart & Brady Watkins Set & Costume Designer: Josh McIntosh Composer & Sound Designer: Brady Watkins Lighting Designer: Teegan Kranenburg Photography: Dean Hanson Photography / Jacqueline Bawtree “No man can foretell his fate.” More than two millennia after it was first written, Sophocles’ Antigone  still speaks with unsettling timeliness. In La Boite Theatre’s striking new staging, co-directors Courtney Stewart  and Nigel Poulton  have crafted a production that explores authoritarianism , defiance, grief and the dangerous rigidity of single-minded convictions. It is theatre that asks its audience to listen carefully, think deeply, and confront the consequences directly.   The play unfolds in the immediate aftermath of a civil war. Antigone’s brothers, the princes Polyneices and Eteocles, have killed each other in battle, leaving their city of Thebes fractured. These fallen princes are henceforth embodied through cloak and helm. The newly crowned king, Creon — Antigone’s uncle — declares one a hero deserving burial and the other a traitor condemned to rot unburied as a warning to the state. What follows is not merely a family dispute, but a collision of principles. Even for audiences unfamiliar with Greek tragedy, the central conflicts are immediately clear and strikingly recognisable today: loyalty versus law, conscience versus authority, the will of the people against the pride of the ruler. The directors frame this ancient dilemma through a highly physical theatrical language that draws on Poulton's action-based performance practice. In this world, the body is never neutral. Characters move continuously through the roundhouse space in shifting choreographic patterns. Bodies crouch, crawl, bow, rise and fall across the levels of the set, embodying the forces that constrain and compel them. The visual world of the production is striking in its clarity and symbolism. At the centre of the stage sits a circular platform carved with a shallow, sunken grave. Josh McIntosh’s set design features a pale stone surface etched with fissures that evoke ancient marble, while the vertical layers glow with warm clay tones. The design creates the impression of an arena — part burial site, part civic forum — where private grief and public judgement collide. A raised walkway and stepped platforms extend from the circle, allowing characters to ascend above the action or descend toward the grave. From a narrow opening above, dusty pebbles periodically rain down into the pit. The roundhouse seating reinforces the production’s themes of public debate, with characters frequently addressing the audience directly as though speaking before a civic assembly. The audience becomes witness, jury and citizen all at once. Suspended above the stage, a ring of lighting reflects the circular shape below, casting cool blue washes and sharp spotlights that isolate characters in moments of confrontation or reflection. Teegan Kranenburg’s  lighting design heightens this effect, especially in the electrifying appearance of the blind prophet Teiresias, where sharp strobe moments fracture the space in flashes of foreboding. The costumes, also designed by Josh McIntosh , perfectly align with the production’s “modern myth” aesthetic — one particularly committed audience member even arriving in a toga on opening night. The flowing silhouettes and soft, neutral fabrics reflect the drapery of ancient Greece, yet maintain a contemporary style in their cut and transparency. Hayden Spencer’s Creon sports a tailored vest decorated with a medal, evoking modern military authority and political clout. The soundscape by Brady Watkins  is particularly effective, layering heartbeats, rumblings, distant screams and choral textures that echo through the theatre. These moments often feel like the pulse of the story itself, amplifying the tension between the human and the mythic. Transitions are underscored by voiceovers of Sophocles’ words, grounding the production firmly in its classical origins even as the staging speaks in a contemporary theatrical language. The ensemble of three is a mighty force. At the forefront stands the sensational Maddison Burridge  as Antigone. She brings composure and emotional depth to Antigone’s grief, love, and fierce moral conviction. Antigone’s defiance does not stem from stubbornness but from an unwavering sense of justice, and Burridge allows that humanity to shine through the text’s formal language. Her declaration, “Our work is never finished. Our tears never dry,” resonates with a haunting impact.   Billy Fogarty  moves fluidly between roles as Ismene, Haimon, Teiresias and the Sentry, demonstrating remarkable versatility. As Ismene, they convey the tension between loyalty and fear with sensitivity, while their turn as the bumbling Sentry provides flashes of comic relief. The Sentry's nervous, long-winded attempts to report to the king are played with deliberate hilarity. As Haimon, however, Fogarty delivers one of the evening’s most compelling exchanges opposite Creon, arguing passionately for logic and the voice of the people. Their confrontation becomes a heated debate between generational reason and authoritarian certainty. Hayden Spencer commands the stage with a Creon whose authority and pride are felt in every word. He knows he does not need to overplay dominance; it is embedded in his person and vocal precision. He spits out the words “woman” or “girl” with palpable disdain; you can almost see the misogyny dripping off his tongue. Antigone in turn responds with equal bitterness when mentioning “men,” underlining the play’s inherent battle of the sexes. Spencer also finds flashes of dark humour within Creon’s demeanour, often in a mocking tone. The production’s dramaturgy, credited to Courtney Stewart  and Brady Watkins , draws thoughtful connections between Sophocles’ text and the contemporary world. At one point Antigone sheds her mythical origins to speak directly to our modern challenges, naming women across the globe who continue to pursue justice and dignity today. It is a reminder that Antigone is not a singular figure of the past but one voice in a long line of resistance since. The language of Sophocles is intricate and philosophical, and the production refrains from simplifying its intellectual complexity. Instead, it trusts the audience to engage. For seventy focused minutes, the play asks for attention, patience and thoughtfulness, and rewards it with moments of startling stagecraft. The questions posed by Antigone remain painfully familiar. What happens when leaders equate disagreement with disloyalty? When pride outweighs compassion? As one line reminds us, “All men make mistakes, but a good man yields when he knows his course is wrong… the only crime is pride.”   La Boite’s production does not offer easy answers. Instead, it invites audiences to sit within the complexity of opposing truths. In doing so, it demonstrates why this ancient tragedy continues to resonate across millennia: because the struggle between authority and conscience is never truly resolved. In this powerful staging, Sophocles’ tragic story feels less like a relic of the past and more like a mirror held up to the present.

Title: Frozen Presented By: Cope Creative Genre: Musical Theatre Synopsis: Inspired by the beloved Disney story, Frozen – The Broadway Musical transports audiences to the kingdom of Arendelle, where sisters Elsa and Anna must navigate love, fear, and the power of family. When Elsa’s magical powers spiral out of control, she isolates herself from the world, leaving Anna to embark on a dangerous journey to bring her sister home. Filled with spectacular theatrical moments and unforgettable music, this production celebrates adventure, heart, and the magic of storytelling. Audition Date: Video auditions open Thursday 5th March 2026 and close Thursday 26th March 2026. Callbacks: Sunday 29th March 2026 Audition Time: Callbacks 10AM - 4PM Audition Location and Address: Callbacks held in person (location provided to successful applicants). Audition Self-Tape Due: Thursday 26th March 2026 Audition Registration: Submit via the Audition Form HERE Audition Pack: Audition materials (dance, sheet music, and backing tracks) HERE Performance Dates: 5th –7th June 2026 Performance Times: Friday - 6PM Saturday – 1PM & 6PM Sunday – 1PM Performance Location: The Events Centre Caloundra, 20 Minchinton St, Caloundra QLD 4551 Rehearsal Dates: 29th March – 5th June 2026 Rehearsal Times: Sundays 10AM - 4PM Thursdays 6PM - 9PM Tech Week: 3rd June 2026 – 9AM – 9PM 4th June 2026 – 11AM – 9PM 5th June 2026 – 11AM – 9PM Rehearsal Location: Sunshine Coast (venue details provided to cast). Warnings: This production includes theatrical haze, strobe lighting effects, loud music, and pyrotechnics. Performer Age: Main cast - 18+ Youth roles - Ages 8–13 (Young Elsa and Young Anna; double cast). Creative Team: Director - Riley Cope Production Website: Cope Creative - Frozen Other Information: This production is presented under a community theatre model and is a voluntary performance opportunity. Callbacks will include singing, acting, and dancing. Performers must be available for rehearsals, tech week, and performances. The show runs approximately 2.5 hours with a 20-minute interval. Contact - producer@copecreative.com.au Available Roles / Character Breakdown: Elsa (Female) – Future Queen of Arendelle and Anna’s older sister, born with magical powers she fears she cannot control. Vocal Range: E3–Eb5. Anna (Female) – Princess of Arendelle; optimistic, warm-hearted, and determined to reconnect with her sister. Vocal Range: G3–E5. Kristoff (Male) – A hardworking ice harvester with a tough exterior and a loyal heart. Vocal Range: A2–Bb4. Prince Hans (Male) – Charming and ambitious prince of the Southern Isles. Vocal Range: A2–A4. Olaf – A magical snowman with childlike innocence and boundless enthusiasm. Vocal Range: E3–Eb5. Sven – Kristoff’s loyal reindeer companion. Oaken (Male) – Cheerful shopkeeper and champion of hygge. Vocal Range: A2–Bb4. Weselton (Male) – Duke from a neighboring kingdom; judgmental and opportunistic. Vocal Range: F3–A4. Queen Iduna (Female) – Elsa and Anna’s compassionate mother. Vocal Range: F3–E5. King Agnarr (Male) – Protective father of Elsa and Anna. Vocal Range: B2–C4. Pabbie (Male) – Wise shaman and patriarch of the Hidden Folk. Vocal Range: Ab2–Gb4. Bulda (Female) – Warm and nurturing matriarch of the Hidden Folk. Vocal Range: Bb3–D5. Young Elsa (Female, 8–12) – Elsa as a child discovering her magical powers. Vocal Range: A3–E5. Young Anna (Female, 8–12) – Anna as a child, energetic and fascinated by Elsa’s magic. Vocal Range: Bb3–E5. Ensemble – Townspeople, guards, palace staff, Hidden Folk, Oaken’s family and friends, and other featured roles. Ensemble members sing, dance, and portray multiple characters throughout the show.

Title: Billy Liar Presented By: Act 1 Theatre Genre: Comedy / Drama Synopsis: Billy Liar follows Billy Fisher, a young man stuck in a dull Northern English town whose vivid imagination offers him an escape from reality. Billy constantly invents elaborate fantasies and lies to cope with his frustrations, juggling relationships, work, and family expectations while dreaming of a more exciting life elsewhere. The story humorously and poignantly explores ambition, honesty, and the tension between fantasy and reality. Audition Dates: Sunday 22nd March Tuesday 24th March Audition Time: Sunday - 11AM Tuesday - 7PM Audition Location and Address: Act 1 Theatre, 238 Gympie Rd, Strathpine QLD 4500 Audition Requirements: Auditions will be conducted by cold read from the script. All performers must be able to perform with a Northern English accent. Audition Registration: Please contact Debbie Hossack on 0431 843 887 or email debkhossack@gmail.com ​if you need more information Performance Dates: June 5th - 21st, 2026 Performance Location: Act 1 Theatre, 238 Gympie Rd, Strathpine QLD 4500 Performer Age: 18+ Creative Team: Director - John Sayles Production Website: Act 1 Theatre - Billy Liar Other Information: The production requires Northern English accents for all roles. The cast consists of 5 women and 3 men. Available Roles / Character Breakdown: Billy Fisher (Male, acting age 20–25) – The imaginative dreamer at the centre of the story. Charismatic, restless, and always dreaming of a bigger life beyond his small town. Florence Boothroyd (Female, acting age 75+) – Billy’s eccentric grandmother with a sharp wit and memorable presence. Geoffrey Fisher (Male, acting age 50) – Billy’s father; practical, blunt, and often frustrated with his son’s behaviour. Alice Fisher (Female, acting age 50) – Billy’s mother; caring but weary of Billy’s constant schemes and lies. Arthur Crabtree (Male, acting age 20–25) – Billy’s friend and co-worker; more straightforward and grounded. Barbara (Female, acting age 20–25) – One of Billy’s girlfriends; sincere and hopeful about their relationship. Rita (Female, acting age 18–25) – Independent and spirited, offering Billy the possibility of a different future. Liz (Female, acting age 20–25) – Another of Billy’s romantic entanglements, contributing to the web of Billy’s lies.

Title: Boy Slaughter Presented By: Sun and Wine Arts Company Genre: Drama Synopsis: Jimmy is an artist. His dad, Brute, is a butcher with short, stubby, inartistic fingers. In Boy Slaughter, Jimmy relives growing up in a small town with big characters and his desperate escape from it all. This script is a wild ride which dives into messy relationships, power, survival, and the strange things people can do when they are pushed too far. It is the kind of story that gets under your skin. Audition Self-Tape Due: 6PM, Sunday March 15th, 2026. Audition Requirements: Video audition consisting of a short 30 second–1 minute monologue relating to the character you are auditioning for. Submission via unlisted YouTube video or unlisted google drive link. Audition Registration: Complete the Audition Registration form HERE Submit your video audition via email to sun.wine.arts@gmail.com. Audition Pack: Sides will be provided if required for callbacks. Performance Dates: June 4th - 13th, 2026 Performance Location: Studio1, 190 Station Rd, Yeerongpilly QLD 4105 Warnings: Mature themes. This production includes intense subject matter and may involve staged intimacy. An intimacy coach will be present. Performer Age: 18+ Creative Team: PM - Claire Yorston Director - Laura Renee Assistant Director - Claire Yorston Tech - Carter Firmager Intimacy Coach - TBC Production Website: Sun and WIne Arts Company - Boy Slaughter Other Information: This production operates on a profit share model. In-person callbacks will be held one evening during the week following the audition deadline. Selected performers will present their original monologue, participate in a cold read of a scene, and may take part in some workshop-style exploration. You will receive an email regarding whether you are required for a callback. All auditionees will be notified of the outcome of their audition by 22 March. Available Roles / Character Breakdown: Jimmy Slaughter (Male, 18–25) – A young artist trying to find his voice and escape the small town he grew up in. Reflective, creative, and shaped by the difficult relationships around him. Brute Slaughter (Male, 35–60) – Jimmy’s father. A butcher with rough hands and a tough presence. A complicated man whose worldview clashes with his son’s artistic ambitions. Nell (Female, 18–25) – Jimmy’s neighbour and best friend. Loyal and grounded, she is deeply connected to Jimmy and the town they grew up in. Rosie (Female, 35–60) – Brute’s girlfriend. Strong-willed and experienced, navigating her place within Brute’s world and the dynamics of the family. There will be flashback scenes where characters portray younger versions of themselves.

Jesus Christ Superstar – Redcliffe Musical Theatre Music and Lyrics by:  Andrew Lloyd Webber and Tim Rice Presented by:  Redcliffe Musical Theatre at Redcliffe Entertainment Centre Director/Producer:  Madeleine Johns Assistant Director:  Zahlee Brackstone Musical Director/Conductor:  Rhonda Davidson-Irwin Band Leader/Guitar:  Lachy Stewart Choreographer:  Jill Lazuta Set Design:  Jonathan Johns Lighting Design:  Jacob Olsen, Chris Walker, Madeleine Johns Sound Design:  Andy Weldon, Angus Pitman Costumes:  Vanessa Hall, Erickson Ilustre, Madeleine Johns Photography:  Bruce Redman, Christopher Sharman "Why are you obsessed with fighting times and fates you can't defy? If you knew the path we're riding you'd understand it less than I." Andrew Lloyd Webber and Tim Rice’s 1970 rock opera is intense, vocally demanding and relentless; essentially two hours of continuous singing, soaring guitars and emotional confrontation. It is not an easy show to pull off, which made Redcliffe Musical Theatre’s ambitious production all the more impressive to watch. Having seen Superstar  several times over the years, I always find it fascinating to see how each production tackles the sheer scale and stamina required by the score. So naturally, the first thing that grabbed my attention was the band. Perched on stage like rock ’n’ roll royalty, they tackled the famously tricky rock score like seasoned pros. Led by the dynamic duo of Musical Director and Conductor Rhonda Davidson-Irwin and Band Leader Lachy Stewart shredding on guitar, the musicians gave the show its driving heartbeat. Superstar  lives and dies by its music, and this band knew exactly what they were doing. Electric guitar riffs cut through the theatre beautifully, while moments of flute added lyrical softness. The score is demanding, but the musicians handled it with impressive stamina. By the end I felt like they deserved a hot tea and a lie down. Visually, the production embraced a modern industrial aesthetic. Jonathan Johns’ set centred around scaffolding structures and a raised plateau which transformed later into the crucifix itself - a striking image when it mechanically rose up. Combined with the haze and dynamic lighting design from Jacob Olsen, Chris Walker and Madeleine Johns , the stage was always sculpted by beams of light and colour, heightening the emotional moments and giving the show a strong visual identity. Choreographer Jill Lazuta jazzed up the ensemble with sharp, energetic movement. The group numbers had fun with contemp and hip hop influences, particularly in “What’s the Buzz”, where the followers moved in tight formations and layered canon sequences that grew from a handful of people into a surging crowd. The ensemble worked hard throughout the show, maintaining the momentum required in a sung-through musical where the story rarely pauses. In the spotlight we had Jeandré Le Roux as Jesus, belting out tunes like a rockstar at a heavenly karaoke night. His timbre had a stunning classical musical theatre clarity that soared through the score, first evident in his angelic rendition of “Poor Jerusalem”. His standout moment came during “Gethsemane”, of course, where the combination of haze, dramatic spotlights and his expressive performance created one of the show’s most gripping scenes. The famously punishing high notes landed with awe, drawing a very audible reactions from the audience - a kind of collective “Did we just witness a miracle?!" Erickson Ilustre brought fierce energy and vocal power to the role of Judas. Arguably the emotional engine of the show, Ilustre embraced that fury and desperation. His delivery in “Damned for All Time” was particularly strong, navigating the rapid fire lyrics with impressive clarity while the electric guitar ripped alongside him. His portrayal of Judas’ demise (spoiler alert ha!) captured the character’s turmoil and guilt. In the intensity of the moment some of the lyrics became difficult to catch, but his emotional storytelling got the point across. Stephanie Collins as Mary Magdalene provided a beautiful emotional counterpoint to the storm around her. Her voice had a gentle, angelic quality like a lullaby. Her solo moments were delivered with sincerity and warmth, particularly when she stepped downstage to sing directly to the audience for “I Don’t Know How to Love Him”, drawing us into Mary’s blanket of compassion and confusion. A microphone issue during “Everything’s Alright” meant her voice did not cut through as clearly as it deserved, but Rhonda’s flute accompaniment was absolutely gorgeous there. Th e Pharisees str utted onto the stage with an air of ominous doom. Steven Eggington’s Caiaphas delivered a truly resonant low bass that vibrated through the theatre, while Anthony Van Stam as Annas matched him with an exquisite vocal presence of his own. Their scenes together created an imposing wall of sound, especially when supported by the intense offstage gospel style chorus proclaiming “Crucify him!" Lucas Van Stam injected joyful energy into “Simon Zealotes”, complete with cheerleader-at-church style choreography by the ensemble. Jake Hollingsworth as King Herod leaned fully into the character’s outrageous theatricality. His flamboyant accent, playful sass and flapper backup dancers made “Herod’s Song” the most entertaining moment of the night. Honestly I was wishing he had a crown to top off the look. If you are going to be that fabulous, you might as well go all in! Vocally, the production delivered many impressive moments, particularly from the apostles' harmonies in "The Last Supper". However, in a show that is essentially wall to wall music, clear and purposeful staging becomes crucial. At times the blocking felt a little sparse, leaving performers with plenty of stage to roam but not much to do. For instance, “The Temple” is often staged as a chaotic explosion of movement like a casino floor, yet here it felt more contained than expected. Or when the lepers crowd around him, I expected Jesus to appear more overwhelmed by the chaos than he did. There were also a few dramatic moments that could grow further with stronger physical reaction. During the 39 lashes scene the emotional stakes would have felt even stronger if Jesus’ physical response had matched the brutality being implied. The title song “Superstar” had the cast grooving with its boogie-style moves and disco ball. Ilustre as ghost-Judas rocked a memorable red leather outfit, but spent much of the number addressing Jesus rather than the audience, which made the energy feel slightly inward for such a big show-stopping moment. It's the kind of number that practically begs the performer to play directly to the crowd, not just to the Son of God. But at this point, I am just nitpicking as a result of being cursed to have seen Superstar enough times to develop strong opinions about biblical staging logistics, apparently. Jesus Christ Superstar  is a challenging show for any company to mount. It demands vocal stamina, emotional intensity, strong musicianship and clear storytelling, often all at once. Redcliffe Musical Theatre approached the material with ambition, musical strength and clear respect for the iconic score. With a talented cast, a rock solid band and striking visual elements, this production delivered many memorable moments from a musical that continues to dazzle more than fifty years after it first shook the musical theatre world.