The Shawshank Redemption Presented by Ipswich Little Theatre Based on the novella by  Stephen King Adapted for the stage by  Owen O’Neill and Dave Johns Director & Set Design:  Shane Mallory Assistant Director:  Amanda Harrison Stage Manager:  Leanne Bamford Sound & Lighting Design:  Phil Holmes Costumes:  Dior Austin-Greenhill Dialect Coach:  Martie Blanchett Photography:  Amanda Harrison   “On the outside I was an honest man, straight as an arrow. I had to come to prison to be a crook.” Few stories about hope and resilience are as enduring as The Shawshank Redemption . Ipswich Little Theatre’s production brings the iconic tale to the stage with an intimate and atmospheric interpretation inside the aptly industrial Incinerator Theatre. With only five rows of seating, you are right inside Shawshank whether you like it or not. (Practical tip: take a cushion. Three hours on those seats is not for the faint of backside!) From the first piercing wail of sirens, low groans of metal and the sombre piano underscoring, the production establishes its intention: cinematic storytelling on a compact stage. First penned in 1982 by Stephen King and immortalised in the 1994 film (still IMDb’s highest-rated film), this stage adaptation leans heavily into resilience, institutionalisation, and the dangerous, radical act of hope. When banker Andy Dufresne is sentenced to life imprisonment for a double murder he insists he did not commit, he finds himself navigating the harsh realities of Shawshank Prison. There he forms an unlikely friendship with Ellis Boyd “Red” Redding, the prison’s pragmatic contraband smuggler. Over the course of two decades, Andy’s quiet resilience and determination begin to chip away at the despair that surrounds the men of Shawshank. Within the stone walls designed to crush hope, it flickers — sometimes dimly, sometimes defiantly. Jon Darbro delivers a remarkably thoughtful portrayal of Andy. As a banker from New England, Andy’s speech is educated, calm and articulate, which contrasts with the rougher, more colloquial tones of the other inmates. Darbro captures this refinement beautifully, keeping his delivery measured and steady, even in moments of confrontation. There is also an analytical quality to Andy’s characterisation that Darbro captures with great care. His fascination with small details — geology, numbers, routines — alongside his thoughtful pauses and watchful presence give the impression of a mind that works a little differently from those around him. This is a man who thinks before he speaks and survives through careful observation. At times the resemblance to Tim Robbins’ iconic portrayal is uncanny, particularly in looks, mannerisms and quiet intensity. Physically, the details matter: the banker’s suspenders in early scenes, the darkened makeup under his eyes, the split lip, and the visible wear of Shawshank. Over twenty years, we see subtle ageing through hair, posture and costume, with touches of grey hairspray and wrinkle makeup gradually introduced as the years pass. Chemark Rehder II anchors the story as Ellis Boyd “Red” Redding, the story’s narrator. Rather than attempting to imitate the iconic film performance by Morgan Freeman, Rehder brings his own grounded warmth to the role. Red begins as resigned, a man who has long since abandoned hope, but through his friendship with Andy we gradually see that outlook shift. His narration provides the emotional backbone of the production and guides us through the years spent behind Shawshank’s walls. Many of the show’s scattered moments of humour land through Darbro and Rehder's delivery. ILT's all-male supporting ensemble is strong across the board, with each actor bringing a distinct presence to the prison population. Daniel Stanton's volatile presence as Bogs Diamond is constantly unsettling, while Gaige Harrison’s Rooster trails behind him with an unnerving loyalty and convincing redneck drawl. Shannon Griffiths brings an intimidating authority to Chief Guard Hadley, while inmates are vividly realised by Aaron Evans, Michael Civitano, James Sheehan, Mark Scott and Sean Gibson . Director Shane Mallory — stepping into the role of the Warden — projects natural authority as he speaks with a presidential polish: measured, composed and chillingly self-righteous. Brooks is one of the play’s most intriguing figures, and Jason Lawson handles the role with sensitivity. Lawson captures the character’s nervous energy and quiet despair beautifully, so his monologue — weary, fearful, stripped bare — lands heavily. Brooks represents the tragic side of institutionalisation: the man so shaped by routine that freedom becomes terrifying. The audience reaction during his scene was… interesting. Nervous laughter appeared in multiple places where there is nothing humorous. Perhaps it was due to shock, but nonetheless this isn't a comedy. The weight of those moments deserves silence from the audience. Stage combat appears frequently and is generally well executed. I think more reactive sound from the actors would definitely heighten the physical impact and believability though. Shane Mallory’s set design embraces a rustic minimalism — prison bars, movable tables, bunks and an elevated guard’s viewpoint all contributing to the confined atmosphere of the prison. Costumes by Dior Austin-Greenhill reinforce the world effectively, with numbered prison shirts, denim workwear and the sharply dressed authority figures. Scene transitions, unfortunately, became distracting. Sometimes a buzzer, voiceover or underscored music carried us smoothly forward into the next scene. Other times, there was silence — just the shuffle of tables and actors hauling pieces into view. I began to feel like I should offer to help carry something! After major emotional climaxes, actors would have to stand up and simply walk off while the set was rearranged. It broke the spell more than once, and I heard giggles from the audience. I recommend closing the curtains briefly or masking these resets to preserve the gravity of those big moments (three instances that I recall). Especially in a story built on tension and payoff, transitions must demand respect. Phil Holmes’ sound design is particularly effective. Creeping piano motifs, cello swells, groaning metal, low whistles, sirens, rain and thunder create a soundscape that is immersive and often beautiful in its restraint. There were moments where transitional music choices felt slightly mismatched, and I found myself wishing for subtle ticking to indicate the passing of time. The lighting rig makes strong use of cold blues and stark whites to emphasise the oppressive atmosphere, with warmer tones appearing in rare moments of hope. The use of stage cigarettes certainly adds authenticity. In a theatre this intimate, you will definitely smell Shawshank. Video design leans into the director’s cinematic ambition. Images of the famous Rita Hayworth poster appear throughout Andy’s cell, while larger projections help fill visual gaps and reinforce key moments in the story outside our "set" with shots taken from the film (faces excluded). The projections work best when integrated into action. At times, however, the glowing projected poster remained visible in moments where darkness or exterior settings should have seen it disappear. Perhaps my biggest surprise of the evening was the audience reaction. The audience was highly responsive throughout, reacting strongly to both dramatic and lighter moments. I was particularly amused by the audible gasps at the famous twist. I was honestly stunned that people remain unaware of it, given the novella’s age and the film’s cultural status. But in a way, that reaction is a gift to the actors. Ipswich Little Theatre’s The Shawshank Redemption  is a brilliantly immersive, emotionally grounded production that thrives on strong performances and atmospheric design. Shane Mallory’s direction is largely effective, particularly in its emotional stakes and sense of confinement. It is intimate in a way film cannot be. In five rows, you sit with these men. And as this story has always reminded us, even behind the thickest prison walls, hope has a way of finding cracks. Content warnings:  murder, suicide, abuse, coarse language, sexual assault, gunshots and fake blood. Audiences should be prepared for confronting themes.

Review: The Sound of Music – Youth Edition Presented by:  Redcliffe Musical Theatre and Roar Academy Venue:  Redcliffe Entertainment Centre Producer/Director: Madeleine Johns Musical Director: Rhonda Davidson-Irwin Choreographer: Meredith Bailey   I have watched The Sound of Music  so many times that I could probably recite the script in my sleep. So, sitting down to see the Youth Edition with Roar Academy and RMT felt like revisiting a very familiar friend. I knew exactly where the story was going, but the joy came from seeing how a new group of young performers would bring it to life. Directed by Madeleine Johns , the production moved along at a lively pace as Maria arrives at the stern Von Trapp household and gradually fills it with music again. Projections established the various locations, shifting us from the mountains of Austria to the calm interior of the Abbey. A small staircase and scattered furniture pieces created a simple playing space that allowed scenes to transition without cluttering the stage. It kept the focus squarely on the performers, which suited the streamlined Youth Edition nicely. Ruby Marriott  led the show as Maria (a role shared with Mia Dacey ) and brought a bright voice and witty warmth to the part. Maria is a character who needs both sincerity and mischief, and Ruby leaned confidently into that playful spirit. Her singing was impressively pitch accurate with a clear tone that carried easily through the theatre. What really worked was the chemistry she built with Ben Smith  as Captain Von Trapp. Their early scenes together had a lovely comedic rhythm as Maria’s optimistic approach collided with the Captain’s rigid household rules. Ben Smith , (sharing the role with Joshua Darcy) , presented a commanding Captain Von Trapp with excellent diction and an authoritative presence. His transformation from strict father to rediscovering music again was nicely handled, and his vocals were showcased beautifully in the ensemble version of “ The Sound of Music. ” Later, his rendition of “ Edelweiss” landed with warmth and sincerity. The Von Trapp children appeared in their distinctive navy outfits with Austrian style braids. Isaac Van Stam  (Friedrich), Clover Wilson  (Louisa), Kirill Yaremchenko  (Kurt), Matilda Day  (Brigitta), Daisy Wilson  (Marta) and Alice Ritchie  (Gretl) all brimmed with youthful energy. One of the evening’s standout moments came with “ So Long, Farewell. ” The number was performed by the children alone, without a conductor guiding them. They handled the challenge well, with Kirill Yaremchenko  delivering a particularly memorable moment as Kurt. Matilda Day  also shone as Brigitta, especially during “Do-Re-Mi,” where her expressive charisma suggests a young star in the making. Zola Bulan  brought a lovely presence to Liesl, paired with a warm mezzo tone that suited the role beautifully. Her performance of “ Sixteen Going on Seventeen ” alongside Tyler Haynes  as Rolf was precious, supported by excellent lighting and complex choreography choices from Meredith Bailey . Some of the trickier transitions and movements could have benefitted from a little more rehearsal time to fully settle, but the scene still captured the sweetness of the characters’ young romance. The Abbey scenes offered some particularly lovely vocal moments. Mikaelah Bolton , Darcee Buckingham  and Isabella Giddy  opened the convent atmosphere with a very pretty and proper rendition of “ Maria .” Their sound was clear and elegant, though I did find myself wishing for the harmonies that usually make that number sparkle. Zahlee Brackstone  stood out strongly as Mother Abbess, bringing both gentleness and authority to the role. Her performance of “ Climb Ev’ry Mountain ” was a highlight of the evening, beginning softly before growing into a powerful and resonant finish. She also shared a lovely musical moment with Ruby Marriott  in “ My Favourite Things ,” where the pair blended warmth and sensitivity in the duet. Providing plenty of humour was Angus Pitman  as Uncle Max. Apparently not an actor by trade, his dry delivery proved surprisingly effective, particularly with the line following the children’s performance: “That’s really nice, but it’s no good.” I suspect that line may become my new go to phrase when giving feedback to my own students ha! Because this is the Youth Edition, several familiar elements from the full musical are trimmed or rearranged. The Baroness does not appear in this version, and “ I Have Confidence ” and "Something Good" is absent. Interestingly, “The Lonely Goatherd” appears during the thunderstorm scene instead of “My Favourite Things,” with the ensemble briefly joining in to create a short group number. With fewer ensemble songs available in this version, the opportunities for large group musical moments are naturally more limited. Redcliffe Musical Theatre makes sure to share the roles across multiple casts so that more young performers have the chance to step into the spotlight. It is a generous approach that allows many students to gain valuable experience, even if rehearsal time must be divided between more performers. Overall, this production is a sweet celebration of a classic musical, carried by a group of enthusiastic young performers. For families and lovers of this timeless story, it is always a pleasure to hear those iconic Rodgers and Hammerstein melodies ringing out once again under the musical guidance of Rhonda Davidson-Irwin . After all, few musicals remind us quite so warmly that a little bit of music can change everything.

Title: Prime Time Broadway 2026 Presented By: Honour Productions Genre: Musical Theatre Showcase / Broadway Revue Synopsis: Prime Time Broadway is a musical theatre showcase featuring a range of songs from contemporary Broadway productions. Performers will present solos, duets and small group numbers from well-known musicals. The production aims to showcase Brisbane performers of different ages and experience levels while celebrating modern musical theatre repertoire. Audition Date: Sunday March 29th, 2026 Audition Time: 2 - 4PM Audition Location and Address: Honour Productions Studio, 3/61 Holdsworth Street, Coorparoo Audition Requirements: Present one musical theatre song of your choice that showcases your voice. Bring your backing track on an aux cable ready device. Auditions are private and vocal only. There is no dance requirement for this concert. Audition Registration: Complete the Audition registration Form HERE. Audition form can be found in audition pack. Audition Pack: Prime Time Broadway 2026 Audition Pack Performance Dates, Times & Location: June 2026 Rehearsal Dates & Times: To be confirmed after casting. Rehearsal Location: Honour Productions Studio, 3/61 Holdsworth Street, Coorparoo QLD 4151 Performer Age: Youth and adult performers welcome. Production Website: Honour Productions - Prime Time Broadway 2026 Available Roles / Character Breakdown: This production is a musical theatre revue, so performers are cast into Solo numbers, Duets, Small vocal groups, Ensemble performers

Title: Beauty and the Beast Presented By: Toowoomba Choral Society Youth Choir Genre: Musical Theatre Synopsis: The classic story tells of Belle, a young woman in a provincial town, and the Beast, who is really a young prince trapped under the spell of an enchantress. If the Beast can learn to love and be loved, the curse will end and he will be transformed into his former self. But time is running out. If the Beast does not learn his lesson soon, he and his household will be doomed for all eternity. This ‘tale as old as time’ is a beautiful production filled with familiar songs and lots of fun characters. We can’t wait to meet all the talented auditionees who are keen to be part of sharing this story with the Toowoomba community! Audition Date: Friday March 20th - Group Ensemble Auditions (singing & dancing) Saturday March 21st - Individual Auditions & Group Dance Call Sunday March 22nd - Individual Auditions & Callbacks (if required) Audition Time: Friday - 4:30PM-9PM Saturday - 9:30AM-5PM Sunday - 12PM onwards Audition Location and Address: Choral Hall, Cnr of Raff and Bridge Streets, North Toowoomba Audition Requirements: Lead & Supporting Role Auditions: Prepare two contrasting songs in the style of the show (not from Beauty and the Beast) Maximum length: 1 minute or approximately 32 bars each Prepare one acting side related to the character you are most interested in Sides do not need to be memorised but applicants should be familiar with them The panel may request a cold read of another scene Attendance at a Group Dance Call is required Ensemble / Featured Ensemble / Specialist Dancer: Attend the Group Ensemble audition including singing and dancing Those wishing to be considered as a Specialist Dancer must attend the Specialist Dance Call Tap shoes are recommended for Specialist Dance Call if available Choreography for Specialist Dance/Tap auditions will be sent once audition times are confirmed. General dance choreography will be taught on the day. Audition Registration: Complete the Audition Registration Form HERE Audition Pack: Beauty and the Beast Audition Pack Performance Dates: Saturday July 11th, 2026 Performance Times: 2PM & 7PM Performance Location: Empire Theatre, 54-56 Neil St, Toowoomba City QLD 4350 Rehearsal Dates & Times: Sunday June 28th – Script Read Through (2-5PM) Week 1 Rehearsals June 29th - July 3rd (8AM-3:30PM) Week 2 Rehearsals July 6th - 8th (8AM-3:30PM) Technical Rehearsal - July 9th (1-5PM) Full Technical Run - July 10th (8AM-5PM) Rehearsal Location: Choral Hall, Toowoomba (Empire Theatre for technical rehearsals and performances) Performer Age: 10 - 18 yrs old Production Website: Toowoomba Choral Society Youth Choir - Beauty and the Beast Other Information: Production Fee: $200 - Members of Toowoomba Choral Society Youth Choir $260 - Non-members Registration includes: Training from experienced creative team members, Inclusive learning environment for beginners and experienced performers, Two weeks of rehearsals, Cast T-shirt, Costume/cast bag, Printed script, Headshot for printed program, Pizza dinner on performance day, Optional accompanist for auditions, Access to tuckshop during rehearsal weeks An optional audition workshop will be held -22 February (9:00am–12:30pm) – Cost $25 Registrations are limited to 80 participants. Volunteers are essential for this production. All volunteers must hold a Queensland Blue Card. Attendance Requirements: All cast members must attend all rehearsals during the holiday production period (28 June – 10 July). Hair, Makeup & Costuming: Cast members must bring their own basic stage makeup kit. Some costume items such as socks, stockings or shoes may be required from home. Hair and makeup instructions will be provided closer to performances Available Roles / Character Breakdown: Belle – Vocal Range A3–F5 (Soprano/Alto). Intelligent, adventurous young woman seeking more than ordinary life. Accent: General American. Beast – Vocal Range A2–F4 (Baritone/Tenor). A cursed prince with a fierce exterior but a compassionate heart. Accent: General American. Gaston – Vocal Range A2–F4 (Baritone/Tenor). Confident and arrogant villain determined to marry Belle. Accent: General American. Lumière – Vocal Range A2–F#4 (Tenor). Charismatic enchanted candelabra with a French accent. Cogsworth – Vocal Range A2–E4 (Baritone). Strict and punctual enchanted clock. Accent: General British. Mrs Potts – Vocal Range F#3–G5 (Alto). Warm and maternal enchanted teapot. Accent: General British. Lefou – Vocal Range B2–F#4 (Baritone/Tenor). Gaston’s loyal but comedic sidekick. Accent: General American. Madame de la Grande Bouche – Vocal Range C#4–G5 (Soprano). Former opera diva turned enchanted wardrobe. Accent: General British. Chip – Vocal Range D4–F5 (Boy soprano preferred). Curious and cheerful enchanted teacup. Accent: General American. Babette – Vocal Range C4–F5 (Soprano/Alto). Playful enchanted feather duster. Accent: French. Maurice – Vocal Range C3–G3. Belle’s eccentric inventor father. Accent: General American. Les Filles de la Ville – Gaston’s enthusiastic admirers. Accent: General American. Monsieur D’Arque – Spoken role. Proprietor of the local asylum. Accent: General American. Ensemble – Townspeople, enchanted castle objects, wolves, villagers, and other fairytale characters.

Presented by : Cosmo Creative Venue : PIP Theatre Written by:  Zachary Lurje and Daniel Gough Production Design: Matti Crocker Lighting Design: Jon Whitehead Sound Design: Andrew Oxford Costume Design: Lottie Banford Content advisory:  coarse language, adult themes, flashing lights and haze Cast: Steve the Queen – Daniel Gough Davey – Samuel French Judy – Kerith Atkinson Lee – Tayla Rankine “I don’t have a mum and I don’t have a dad. I have a Steve.” That line hangs over Steve the Queen  like a glittering disco ball. Presented by Cosmo Creative at PIP Theatre  and written by Zachary Lurje and Daniel Gough, this show is a camp comedy / family drama. Beneath the wigs, sequins and outrageous jokes sits a heartfelt story about grief, identity, and the messy nature of family. Minor spoilers ahead. The play opens with a moment that immediately tells us what kind of world we’re entering. Davey’s dad turns up to a Year 7 parents day straight from work. Except “ work ” happens to be hosting in full drag. The entrance is anything but subtle. There is attitude. There is absolutely no attempt to blend in with the other parents. And they promptly get kicked out for causing a scene. Fast forward to Davey in Grade 12 and things are a whole lot more grown-up and complicated. While the teen characters, Davey and Lee, are getting busy in bed, Steve is on stage lip syncing Whitney Houston’s Queen of the Night . Production designer Matti Crocker gives the show a vibrant playground to live in. The set presents like a collision between Steve’s stage life and his home life. A glowing catwalk juts out into the audience. A checkerboard floor gleams under the lights. There is a bed with leopard-print sheets, neon signage glowing on the backdrop, and a disco ball hanging overhead. One minute feathers are floating into the audience during Wind Beneath My Wings . The next moment you may find condoms flying your way during Respect . Lighting by Jon Whitehead leans fully into the nightclub energy with flashes of colour and sparkle, while Andrew Oxford’s sound design keeps the drag numbers punchy and theatrical. Costumes by Lottie Banford bring the glamour in full force: wigs, pearls, pumps, and sequins. Co-writer Daniel Gough plays the title character Steve, both the drag persona and the struggling father underneath it all, and commits completely to the chaos of the character. Even his smallest acting choices are hilarious. But what makes his performance work is the vulnerability sitting underneath the glitter. Daniel must switch between being sassy, outrageous, and occasionally cruel; sometimes behaving more immaturely than his own son! Underneath all the flashy bravado, you can just spot the insecurities. Being Steve the Queen is easy... But being Steve the father is much harder. Samuel French  as Davey gives the play its emotional centre. Davey is clearly exhausted from living in the shadow of his father’s larger than life personality. His line, “I am the backup dancer in the production of your life!” lands with a real sting. The confrontation scenes between Daniel and Samuel are where the play really crackles. When Davey begs Steve to drop the character and just be honest for once, the comedy falls away and suddenly everything gets real o'clock as Davey unloads years of frustration and hurt. Their stage dynamic is magnetic; full of sarcastic deflections and sharp jabs, and we see the cruel side of both father and son through these actors. Tayla Rankine is fantastic at portraying Lee, Davey’s girlfriend. Lee is proud, observant, emotionally intelligent, and in many ways she is the only character in the room capable of calmly seeing the situation for what it is. Rankine delivers several moments of brutally honest tough love that made me physically wince in my seat. The kind of lines that make the whole audience quietly go “oof.” There’s a brilliant confidence to her performance that cuts through the chaos around her. Kerith Atkinson plays Judy, Steve’s mother in law and Davey’s grandmother. She is caring but can be blunt, opinionated, and never shy about offering advice that nobody asked for. Steve and Judy’s relationship is a time bomb, with arguments escalating from passive aggressive sniping to full blown shouting matches. While Atkinson delivers strong comic timing and bite, but it was hard for me to see her as a grandma with a past of alcohol abuse (sorry!), especially since she's supposed to be around 50-60 years old with an 18-year-old grandson. The writing itself is sharp, unapologetic Aussie humour that the audience responds to instantly. Lines like “ My teenage son is having more sex than me!” and “ As punishment we are having a father/son Bette Midler marathon! ” get big laughs. But the comedy never exists in a vacuum. The jokes often slide into something darker as the play reminds us that underneath all the spectacle is a story about grief. I had the chance to briefly ask co-writer Zachary Lurje about the inspiration behind the play. He mentioned that audiences might recognise echoes of stories like The Birdcage  and Priscilla Queen of the Desert but he also drew from his own time living in the Northern Territory, where he spent time around the drag community and saw similar family dynamics firsthand. What makes Steve the Queen  so compelling is that nobody here is entirely right or entirely wrong. In Zachary Lurje and Daniel Gough’s writing, each character feels painfully human. Steve is terrified of vulnerability so he hides behind drag. Davey wants honesty but lashes out in anger. Judy weaponises her guilt. These characters refuse to communicate like reasonable adults. They deflect, joke, lash out, and avoid the truth until the tension finally boils over and words are thrown around that cannot be taken back. One line in particular lingered with me: “A normal family is the cruellest lie there is.” Steve the Queen  mixes camp spectacle with some very real emotional wounds and asks what happens when the person who commands the spotlight struggles to be present for the people who need them most. And as the glitter settles and the wigs come off, one question quietly remains: Who are we when our performance ends?

Title: Long Gone Lonesome Cowgirls Presented By: Ad Astra Theatre Company Genre: Musical Drama / Comedy Synopsis: Long Gone Lonesome Cowgirls is a nostalgic musical journey exploring female friendship, resilience, and independence in a chauvinistic rural Queensland setting during the 1960s. The story follows two women navigating heartbreak, loneliness, and the chaos of their lives while finding strength in each other. Though touching on themes of unhappiness and isolation, the play remains warm, humorous, and filled with country music from the golden era of the Nashville sound. Audition Date: Tuesday 10 March 2026 Audition Time: 6:00pm – 10:00pm Audition Location and Address: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Audition Requirements: Prepare one 2-minute monologue Prepare one country-style song (60–90 seconds) in the style of the show Cold readings from the script will be required Suggested musical inspiration includes artists such as Patsy Cline, Tammy Wynette, Loretta Lynn, Hank Williams, Kitty Wells, Dolly Parton, and Skeeter Davis. Audition Registration: Email creatives@adastracreativity.com with: Recent headshot Current CV (Word or Google Doc only) The role(s) you wish to audition for Performance Dates: 11 June – 4 July 2026 Performance Times: Thursday–Saturday evenings and Saturday matinees Performance Location: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Creative Team: Director: Prue Robb Production Website: https://adastracreativity.com Other information: This is a co-op production Performers receive a share of ticket sales after expenses Callbacks: Wednesday 11 March 2026, 6:00pm–10:00pm Available Roles/Character Breakdown: Vicki — Age 20–30. A conventional, quiet, and submissive housewife who dreams of American country singers while waiting for her itinerant contractor husband to return. Rae — Age 20–30. A brash, bold, and freedom-loving barmaid from Toowoomba who has been abandoned by her boyfriend and must learn to navigate life independently.

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

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

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

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

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

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