Title : Amadeus Presented By : Beenleigh Theatre Group Genre: Drama / Period Biography Synopsis: Set in 18th-century Vienna, Amadeus dives into the fierce, private war waged by court composer Antonio Salieri against both God and the musical genius of Wolfgang Amadeus Mozart. Outwardly dignified and devout, Salieri is consumed by envy as he recognises that Mozart’s childish, chaotic exterior hides a once-in-a-century brilliance he can never match.Through intrigue, manipulation and confession, the play explores jealousy, ambition, mediocrity, faith, injustice and the unbearable weight of knowing you are “good” while standing beside true genius. Mozart’s music underscores the drama, heightening the psychological and spiritual stakes in one of modern theatre’s most gripping works. Audition Date: Sunday 14 December 2025 Audition Time : From 10:00am onwards (individual times allocated via booking) Audition Location and Address: Crete Street TheatreCrete Street, Beenleigh QLD 4207 Audition Self-Tape Due (if applicable) : Video auditions accepted until Friday 19 Dec, 6:00pm Audition Requirements: Register and book an individual audition slot (1-on-1 with the panel). Bring a clear photo of yourself for identification. Prepare a side (scene/excerpt) for the character(s) you feel most drawn to (sides available on BTG website audition page). Be prepared for possible additional side reads or cold reads. Accent requirements: Most characters: general Christian/British accent (early Georgian period). Mozart: general American accent. Salieri: Italian accent not required, but encouraged. Minimum expected standard: strong text work and readiness for a dialogue-heavy, classical-style play. Audition Registration: https://www.trybooking.com/events/landing/1509861 Audition Pack: : https://beenleightheatregroup.com/wp-content/uploads/2025/12/Amadeus-Audition-Pack-FINAL.pdf Performance Dates: Preview: Monday 16 March 2026 – 7:30pm Friday 20 March 2026 – 7:30pm Saturday 21 March 2026 – 2:00pm & 7:30pm Friday 27 March 2026 – 7:30pm Saturday 28 March 2026 – 2:00pm & 7:30pm Sunday 29 March 2026 – Mandatory (likely bump-out / final commitments) Performance Location: Crete Street Theatre, Beenleigh QLD 4207 Rehearsal Dates: First Rehearsal: Sunday 4 January 2026 Ongoing Rehearsal Period: January–March 2026 (through to show week) Rehearsal Times: Mondays – 7:00pm to 10:00pm Wednesdays – 7:00pm to 10:00pm Sundays – 10:00am to 4:00pm Warnings: Mature themes including jealousy, religious conflict, manipulation, illness and death. Some characters may have intense emotional and psychological content and intimate scenes. Performer Age : 18+ Creative Team : Director – Sean Wilson | Assistant Director – Matthew Malachite | Consultant Director – Leo Bradley Production Website: https://beenleightheatregroup.com/get-involved/audition/ Other information: BTG is committed to diverse, inclusive casting, welcoming auditionees of all races, ages, genders, national origins, and lived experiences of disability, within the bounds of the text. Where a character is explicitly BIPOC, LGBTQIA+ or living with disability, BTG prioritises artists with those lived experiences. Successful auditionees must become financial members of BTG ($10 per calendar year), payable before first rehearsal. Applicants are expected to uphold inclusive and respectful language and behaviour at all times. Available Roles/Character Breakdown: Antonio Salieri Playing age: 30–70, Male Court composer and narrator. Intelligent, disciplined, respected, but consumed by envy of Mozart’s genius. Wages a private war against Mozart and the God he feels has betrayed him. Heavy dialogue load; requires strong text work and stamina. Italian pronunciation knowledge beneficial. Wolfgang Amadeus Mozart Playing age: 20–35, Male A brilliant, volatile young composer. Childish, chaotic, energetic, and emotionally raw, yet musically transcendent. Physically and emotionally demanding role with substantial text. Requires American accent. Includes intimacy scenes with Constanze. Constanze Weber Playing age: 20–35, Female Mozart’s wife: spirited, practical, humorous and deeply devoted. Protective of Mozart while also exasperated by him. Needs warmth, strength, and emotional honesty. Includes intimacy scenes with Mozart. Emperor Joseph II Playing age: 30–60, Male Well-meaning but somewhat oblivious Emperor. Polite, agreeable, easily influenced. Provides comic touches while maintaining regal authority. Count Orsini-Rosenberg Playing age: 30–60, Male Senior court official overseeing musical affairs. Traditional, conservative, and resistant to Mozart’s innovation. Polished, political, often in conflict with Mozart’s new ideas. Baron Van Swieten Playing age: 30–60, Male Cultured, intellectual court figure. Wry, philosophical, and dryly witty. Appreciates depth and refinement; an observer with quiet influence. Count Johann Kilian von Strack Playing age: 30–60, Male Rule-bound, courteous member of the Emperor’s circle. Voice of caution and protocol. Helps frame the hierarchical, bureaucratic world of court. The Venticelli (2 roles) Playing age: 20–35, Any gender Fast-talking informants and gossips of the court; function almost like a Greek chorus. Deliver rumour, exposition and “whispers” of Vienna with speed, precision and strong ensemble awareness. Non-Speaking / Doubling Roles (can be doubled with speaking roles): Salieri’s Valet Salieri’s Cook Teresa Salieri (Salieri’s wife) Katherina Cavalieri (Salieri’s pupil) Guiseppe Bonno Servants and Citizens of Vienna

Book: David West Read Music: Max Martin and Friends Director / Set and Costume Design: Tayla Simpson Music Director: Steven Days Vocal Director: Jade Enright "This is what happens when you spend THREE DAYS getting to know someone…" Created by Schitt’s Creek writer David West Read, &Juliet asks a simple question: what if Juliet simply does NOT stab herself and die for Romeo? What if Anne Hathaway storms into Shakespeare’s writing session, grabs the quill, and rewrites the whole ending herself? Suddenly Juliet is off to Paris with her besties where new relationships bloom, parents meddle, exes resurrect themselves, and everyone expresses their emotional trauma through the biggest pop anthems of the last 30 years. It is a coming-of-age jukebox musical powered by the catalogue of songwriter Max Martin: Backstreet Boys, Britney, P!nk, Katy Perry, Demi, Ariana, Kelly Clarkson and plenty more! It is knowingly silly, gloriously camp and sneakily heartfelt, with a message about reinvention, second chances and owning your own story instead of someone else’s tragedy. Tonally, the show is pure rom-com chaos stacked with clichés, dad jokes, teen angst, insider theatre winks and that "my parents just don't get me" attitude. It feels like a 2000s sleepover movie sprung to life, sparkly lip-smackers and all. As Juliet, Zara Lassey carries the emotional and vocal spine of the show. I love how she begins scenes physically closed off, head lowered and posture small, which makes her gradual shift into self-belief and confidence really satisfying to watch. And vocally she is a beast. The Britney material in particular sits so beautifully in her voice. She feeds the slow drama of “… Baby One More Time ” and “Oops!… I Did It Again ” with that perfect 2000s pop fizz and agile riffs. Her chemistry with Isaac Brown (May), Morgan Garrity (Angelique) and Rachel Love (Anne/April) forms a fearsome-foursome bestie squad. Their “ Domino ” is a shining ensemble moment, fizzing with fun, harmonies and choreographic punch. And then Zara finally gets to chill later and show off her soft, tender tone in “ One More Try, ” complete with a random Notebook -style boat ride. The show thrives on the "Anne, Will and the quill" framing device. Michael Mills is instantly magnetic as William Shakespeare in “ Larger Than Life .” As a frustrated playwright with an overinflated ego and a boyish charm he has come to rely on, there is something endearingly dorky about his portrayal that I cannot even be mad when he is being insufferable. He unravels hilariously as his wife seizes creative control of his masterpiece. Speaking of, Rachel Love gives Anne Hathaway a "hello fellow kids" energy that is very endearing. Anne is desperate to rewrite not just Juliet’s story but her own, and Rachel plays that yearning with warmth and optimism. The tango dialogue scene with Michael is a particularly inspired directorial choice that physicalises their marital tug-of-war. And then Rachel opened her mouth to sing Celine Dion's “ That’s The Way It Is ” and I practically levitated. She has one of those voices that is lush, clean, and so satisfying on top. As May, Isaac Brown is a revelation. His warm '00s pop tone suits the Britney/Katy Perry/Adam Lambert territory perfectly, and Isaac carries the emotional core of May's storyline with sass, grace and humour. “ Whataya Want From Me ” with Campbell Briggs as Francois is a showstopper: vulnerable but vocally secure and FULL of power. Isaac spends a large portion of the show in a tightly cinched corset across his diaphragm and still manages to deliver huge, sustained belts without sounding strained. His riffs are tasty, never indulgent, and he grounds May’s journey in “I’m Not A Girl, Not Yet A Woman” with a very real sense of "I just want to be seen as myself." Luke O’Hagan is fabulously eccentric as Lance Du Bois, leaning into the comedic width of the role. His “ Teenage Dream” duet with Morgan balances humour and heart beautifully. His costume absolutely sent me too. And if it is possible to roll him and Angelique on already in the bed or run on during a blackout, it would make that particular joke land much harder. As it is, the audience gets the full reveal in stage lights whoops! Liam Gatt storms back into the show as Romeo (king of main character syndrome), blasting into Bon Jovi’s “It’s My Life” like he has been waiting the entire musical for this entrance. His swagger, rock-tenor vocal attack and razor-sharp comic timing sell the role completely. Director Tayla Simpson keeps the stage mostly spacious for choreography, with a two-level balcony structure upstage and glowing Romeo & Juliet signage overhead. The costumes are modern pieces with a renaissance twist: think corsets, vests and ruffs mixed with denim, boots and glitter. April’s wardrobe in particular looks like she has stepped straight out of my Pinterest board and Juliet's final outfit is ICONIC. I found myself craving a bit more from the lighting design to match the pop energy. Don't get me wrong, there are some beautiful patterns, pulsing colours and perfect blackouts, but this is a show that can easily handle even bolder, more theatrical looks. One of the more interesting creative choices is letting many of the cast keep their Aussie accents. It grounds the show firmly in our own backyard and gives the text a cheeky, recognisable tone. At times though it becomes a guessing game of who is aiming for Australian, American or British. It is not a deal breaker, just sometimes distractingly inconsistent in a text that already plays heavily with language and period. This is a show of mostly singing, and Tayla Simpson has chosen her cast very artfully. Across the board, the vocals are incredibly strong. Zara, Rachel, Campbell and Isaac in particular deliver consistently excellent work, and Zara and Campbell's blend is especially dreamy when they sing together. The band sits visibly at the back of the stage, loud and tight, which gives the entire night that live pop concert energy. And honestly, some of these orchestral arrangements are better than the originals. You know how sometimes the Glee cover hits harder? That is what this feels like. BTG productions sometimes struggle with microphones, but here the sound is surprisingly solid hooray! Occasionally the ensemble sings a touch too loudly from offstage, but I do prefer enthusiasm over timid hesitation in a show like this. There are a lot of songs crammed in, but they never feel too random. Numbers pop up, do their storytelling job and move on before they outstay their welcome. Highlights include: Blow by Ke$ha, which explodes with club energy, party lighting and choreography that actually feels like a wild night out. Although was I the only one who thought Juliet would rise into the air on the chandelier? Show Me Love by Robyn , where a carriage set piece appears, Will is peddling away on a bike with a goofy grin, and the ensemble is absolutely loving their blocking in this one. Someone please make a sign that says “Beenleigh: 10,000 miles”. I Kissed A Girl by Katy Perry , which is a true triple threat moment by Campbell and Isaac: killer vocals, crisp choreography and sizzling chemistry. Problem by Ariana Grande / Can’t Feel My Face by The Weeknd, a sharp, punchy mashup with strong down beats and really effective lighting choices. Backstreet’s Back by The Backstreet Boys , gleefully tackled by an all-denim boy band, pure fan service and original choreo fun. Roar by Katy Perry, a massive closer with high energy choreo and pyro sparks that made me fling out of my seat like a lunatic. Plus a blackout costume quick change that is so smooth it feels supernatural! If anything, the one number that feels slightly undercooked at present is " Confident" by Demi Lovato. It is one of the biggest power anthems of the night, and while it sounds excellent with some sharp choreographic choices, I think we should get more than a slow walk downstage at the end. More drama, higher stakes (should May be witness?), and a greater sense of the song exploding out of the cast. The frame is there. It just needs the storytelling dial turned up. There are a couple of pitchy moments in " Since U Been Gone" , but it is a beast of a number even for industry professionals. The attitude is spot on though, and the girl gang energy absolutely sells the scene. We must remember that these songs are written for the lungs of Demi, Kelly, Celine, Ariana, P!nk Jessie J... So when a Brisbane community cast even attempts them and slays , it is impossible not to cheer! &Juliet is not here to wallow in tragedy. It is here to celebrate joy, identity and rewriting your life. The show repeatedly reminds us that a wedding does not always equal a happy ending, that parents do not always know best and that living honestly sometimes means breaking things open first and living with the chaos it may cause. The audience laughs, gasps and sings along (sorry not sorry). For a night of big vocals, bigger feelings and a story that insists your life does not end with one boy on a balcony, BTG’s &Juliet is absolutely worth the ticket. If you are a fun person, you are going to have a fun time, I promise! Tickets available here

Book by Kristina Redwood & Louella Baldwin Music & Lyrics by Your Man Alex Smith Co-Directors: Hannah Martin & Dominic Bradley Choreographer: Rachael King Music Directors: Rhea Basha & Alex Smith “You shouldn’t have to convince someone to love you.”   Phoenix Ensemble welcomed audiences to the world premiere of Antidote , a new Australian rom-com musical about two sisters, Olive and Darcy, trying to navigate the maddening (and occasionally disastrous) world of love. Olive and Darcy are both searching for that elusive spark... But Olive’s heart has inconveniently latched onto someone completely off-limits, Darcy discovers her heart fancies not one, but two people at once. As wedding plans collide with surprise confessions, queer awakenings, brutally honest friends, steamy dreams, panic attacks, and the universal desire to be chosen, these two learn that the road to love is anything but straightforward!   The theatre had a lovely buzz when I arrived. You could tell how much it meant to the community to see a brand-new Australian musical created and performed by our own. The set, made up of empty photo frames, cube blocks, and a sprinkle of small props, created a clean, flexible canvas that could shift from a coffee shop to a nightclub to a living room. The show also leans heavily (and realistically) on phones for communication between characters. In future productions, I could absolutely imagine them projecting the screen POVs like a high-tech crystal ball to make everything clearer and more immersive for us.   You can't have a rom-com without some sibling drama, a forbidden crush, and a dating disaster, right? Antidote packed all of that into just the first Act. The opening song, One Thing , launched the show with the big question we all ask: What do you really want from a relationship? The cast then introduced us to a tangled web of characters who all hang out at the same little coffee shop (probably because they can't afford therapy). Kristina Redwood was so relatable as Olive: recently dumped, clearly miserable, and trying (but failing) to appear happy for her newly engaged friends Brittany and Spencer. You could sense her emotional exhaustion... This is a character who needed a hug, a nap, and maybe a couple of weeks in Bali. Kristina gave Olive some beautiful musical moments and had a great knack for finding humour in tension breaks. What made her performance stand out was how real she played. Olive wasn’t a caricature. She was everyone who's ever been blindsided by a breakup, or fallen for the wrong person, or put on a happy face for a friend’s big news while quietly falling apart, or been totally clueless about who’s actually right for them. Louella Baldwin brought a whirlwind of charm, chaos, and queer panic to Darcy . They played the character as someone flirty, fun, and absolutely averse to stillness. Lou's performance had a bright, magnetic energy, and they landed the comedic beats with ease. Their voice had some strong, punchy chest-voice moments and a clear tone that fit Darcy’s emotional outbursts. The panic attack scene with Austin was one of the show’s most honest beats. It was intense, vulnerable, and... sadly relatable lol. Chapter One , Darcy's duet with Kaitlin Evans as Zoe, was an absolute favourite of mine. Opening with an adorable harpsichord moment, the duet blossomed into a tender, delicate number. Kaitlin, though not onstage often, made every entrance count with their natural acting and a beautiful vocal tone. Daniel Lelic  made a memorable impact with his limited stage time too. His duet Chill  with Louella was one of the funniest numbers of the night — a playful, riffy, belty narrative where two people try to interpret each other's intentions through the universal lens of “Netflix and chill.” Daniel’s vocals were crisp, confident, and exciting, and his chemistry with Louella made their scenes pop. What really stood out was how genuine Darcy’s connection felt with both Austin and Zoe. Each of them brought out a different side of Darcy, and I was cheering for both couples because they genuinely made each other happy. Jeez, I wish I  had two people in love with me and couldn't decide between them! Dang. As Brittany and Spencer, Priya Shah and Christopher Batkin were perfectly cast as the dorky, eager-to-please newly engaged couple. Their love felt earnest, even if their communication wasn’t always on point. Which brings me to Café Chaos, a scene that  showcased Chris’ great voice and anxious energy. The song was bouncy and witty, even though sound-level issues softened its full impact. Together, they formed a couple you'd definitely cheer for, even when they were emotionally worlds apart. Reagan Warner gave a lovely, down-to-earth performance as Connor, Olive's go-to best friend. His line “leave that cruel voice outside just for tonight” landed with sincerity and showcased what made his character so likeable. His naturalism made the friendship between Connor and Olive feel truly supportive and comforting. In a cast full of spiralling romantics, Reagan became the steady anchor — the one person you could count on to tell you the truth firmly and without (much) judgment. And Hannah Macri  as Miles was pure joy. They seemed to do every job in Brisbane — barista, waiter, tailor, tango teacher, florist, celebrant, emotional support human — and excelled at all of them. Honestly, I bet their name was secretly jotted down in the stage manager’s script with a note saying “If all else fails… Hannah.” Their vocal moment in 5, 6, 7, Wait!  was brilliant, and their belt-heavy rock solo Tough Love  really packed a punch. Hannah’s comedy as the overwhelmed waiter in the accidental double-date sequence (a full Mrs. Doubtfire moment) had me cracking up!   Your Man Alex Smith’s score was a delightful genre-mash, pulling from disco, rock, pop, folk, musical theatre, and even classical. No two songs sounded alike, yet they all fit comfortably within the same musical universe. Some highlights included: Just For Tonight  – An alcohol-soaked trip to The Beat nightclub where Darcy’s queer feelings suddenly unlock themselves under the pulsing lights. It was fun, flirty, messy, and captured that moment where something shifts inside you before you even realise it’s happening. More Than Words  – Christopher’s beautiful, romantic love anthem where Spencer spirals over choosing the perfect centrepieces. His anxious determination to pick the flowers that prove he knows Brittany, loves her, and wants their life together to be perfect was very touching. The Pachelbel Canon overlap was a clever musical touch too! The Bitter Truth  / Golden – These layered, emotionally charged company numbers had overlapping harmonies and shared tension. Everyone is tiptoeing around each other’s feelings like a melodramatic minefield, singing truths they absolutely did not want to deal with. Antidote  – The soaring title track with a bridge so good I genuinely thought we had reached the finale... only to realise there were still twenty minutes left whoops! Poison - The vicious sibling argument full of insults was fun in concept and staging, but pitchy unfortunately. The direction by Hannah Martin and Dominic Bradley showed a clear understanding of how to keep a small space visually alive. Their choice to have characters remain onstage during scenes they weren’t directly involved in — existing in their own miniature worlds — helped fill the space and created easy transitions between scenes. As brilliant comedic actors themselves, Hannah and Dominic made sure the humorous beats landed with confidence; their instincts in timing-focused sequences were excellent. The double date remained the comedic high point of the show thanks to its tight pacing and well-sculpted farce structure. The nightclub scenes were also shaped with strong atmospheric logic, capturing the emotional overwhelm and sensory overload of those environments. The ensemble harmonies were pretty straightforward, but they often had a tough time, which makes me think the cast could've used more practice with the mics in the space or a bit more time to get the blend just right. I know every performer in this cast can sing well, so I suspect a combination of sound balance, monitoring issues, and the difficulty of the harmonic learning played a part. Sometimes, sticking to unison lines might have worked better when time is tight. But none of this detracted from the sincerity of the performances, and the cast were very well chosen for their characters.   The script by Kristina and Louella was full of sharp, heartfelt writing. Lines like “I know what it’s like to be used and discarded” hit hard, and the show sprinkled humour into all the right places. The world they created was thrilling, over-caffeinated, and a true reflection of how real people go through love and friendship. Some relationships, particularly Olive and Brittany’s friendship and Olive and Darcy’s sisterhood, didn’t always feel as deep as the story required, but a future version could strengthen those bonds easily enough. One thing the script captured beautifully was the interconnectedness  of the characters. Every relationship looped back into another. Everyone was linked to someone. It actually echoed the Brisbane theatre scene with startling accuracy, where everyone knows everyone, friendships overlap with romances, breakups ripple through casts, and the community always has your back. Rachael King's choreography brought a sense of buoyancy and playfulness to the production; her movements aligning with the storytelling well. However, some ballads might have been more impactful with a more restrained and still approach to enhance emotional focus. Quiet mics under loud tracks caused some dialogue to be swallowed, and some lower-frequency voices were difficult to hear. But the main hurdle for Antidote was its length. At roughly three hours with each act around ninety minutes, the rom-com pacing started to drag. Some trims to transitions, repeated beats, or restructuring scenes would help keep all the songs without the stamina fatigue. And as much as I love Phoenix Ensemble, by the time we hit the three-hour mark, my tailbone was complaining HARD. Thank the musical theatre gods that new seats are coming soon! Creating an original musical is one of the most ambitious artistic undertakings a person can attempt, and this team should be incredibly proud. Antidote has heart, humour, relatability, originality, and so much potential.   I left thinking two things. Firstly, these artists are incredibly impressive. Secondly, both sisters are toxic and everyone around them deserves better.

Written by Joshua Hinton Presented by Brisbane Festival in association with QPAC Merrigong Theatre Company Directed and Designed by Leland Kean Photography Tracy Leigh During the Brisbane Festival (my favourite time of year!) I was swept into a fragrant, heart-filled adventure as Joshua and Dominic Hinton invited us to pull up a seat at their family table. A Place in Sultan’s Kitchen  was part biography, part cooking show, part heritage story, and absolutely all heart. It had the entire theatre whispering “oh my god, that smells so good…” in unison. Joshua’s story began as a search for cultural identity, and as he told us, it quickly unravelled into something far bigger. It became an exploration of the many cultures, beliefs, and histories that shaped his family tree. From Iran to India, Sri Lanka to South Africa, and finally to Brisbane’s beloved Sultan’s Kitchen , he wove this tapestry through song, memories, live cooking, and creative use of cameras and spices. The set was lovely with persian rugs, hanging lamps, and a kitchen pantry that felt magical every time he opened it. Live video feeds projected onto the walls and items kept us eager to catch every detail. Vision and sound designer Dominic (also interjecting with some zingers) added subtle soundscapes and clever tech moments that brought the history to life. Josh chatted to us so effortlessly that I genuinely forgot this was a performance and not a friend sharing stories while chopping onions. He balanced humour with honesty, whether it was discussing the tiring repetitive question “where are you from?” or the red flags that appeared simply because of his middle name. He also touched delicately on persecution in Iran, wartime displacement, grief, and the complicated experience of living between cultures. I adored how the ingredients became characters, how spices retold family journeys through World War II, and how recorded snippets of their grandmother held the whole story together. And the multitasking? I have no idea how Josh cooked an entire curry while acting, singing, reminiscing, educating, and cracking jokes. I would have burned the theatre down! Vocally, Josh had a warm, honeyed tone that suited the reflective mood of the piece, especially in the final number, Evergreen , accompanied by Dom’s beautiful guitar and harmonies. It was the perfect ending, gentle, hopeful, and full of love. The show reminded us that smell carries memory, that grief and cooking share similar heartaches ( “how can you enjoy something when you know it’s about to end?” ), and that identity is never a single flavour. We are all fruit salads, as Josh put it; a mix of everything that came before us. I walked out feeling nourished, both emotionally and… well, literally, because they fed us the curry and encouraged us to take home as much as we liked! And it was delicious. More importantly, I felt the love of the family who raised these boys radiating through every moment. A beautiful, sensory, heartfelt feast of a show. Perfect for history lovers, multicultural families, foodies, and anyone who has ever wondered where they fit in this big, complicated world.

Title: Georgy Girl – The Seekers Musical Presented By: On the Boards Theatre Company Genre: Jukebox Musical Synopsis: Georgy Girl  tells the remarkable true story of The Seekers — Australia’s most iconic and internationally successful music group.Judith Durham, a shy teenage vocalist with a golden voice, joins folk musicians Athol Guy, Bruce Woodley and Keith Potger, and together they rise from humble beginnings to become global stars.From Melbourne to London, from heartbreak to chart-topping success, the group experiences soaring highs, personal challenges, and life-changing moments — all underscored by timeless hits including “Georgy Girl,” “I’ll Never Find Another You,” “The Carnival Is Over,” “A World of Our Own,” and “I Am Australian.”Spanning decades of friendship, fame, breakups, reunions and emotional triumphs, this musical celebrates resilience, connection and the enduring power of music. Audition Dates: 7 January 2026 8 January 2026 19 January 2026 20 January 2026 Audition Time: 9:00am – 5:00pm (10-minute individual vocals/acting) 11:30am – General Dance/Movement Call (30 mins) 3:00pm – General Dance/Movement Call (30 mins) Audition Self-Tape Due (if applicable): Video auditions must be received by 20 January 2026. Audition Requirements: Minimum age: 18 years. All auditionees must prepare: Required audition song(s) for the character they’re auditioning for (see role breakdown). One contrasting song of your choice (32 bars), which may be from the show. Bring AUX-compatible or Bluetooth audio device for backing tracks, or sheet music clearly marked. A character side, available via the audition material link. Attend a dance/movement call (in-person auditions only). Details for video audition dance requirements will be emailed after registration. Audition Registration: Via the official audition form: forms.gle/ttL7WcGaaHJrzCxu6 Deadline: 5:00pm, Sunday 21 December 2025 Audition Pack: Available here Performance Dates: Gold Coast Season begins 13 May 2026 and Brisbane Season begins 1 June 2026 Rehearsal Dates: Proposed rehearsal period: 1 March – 12 May 2026 Warnings: Contains adult themes Performer Age: Minimum 18 years. Creative Team: Director – Lyn Pelgrave Musical Director – Robert Clark Choreographer – Sarah Cooper Production Website: https://ontheboards.com.au/productions-2/ Other Information: Lead roles receive an honorarium payment for rehearsals and performances. Ensemble receive an honorarium payment for performances. Casting panel includes the Director, Musical Director, and Choreographer. Callbacks: 8 February 2026 Understudies may be cast at the panel’s discretion. All casting results will be provided in writing. Available Roles / Character Breakdown JUDITH DURHAM Age: 20s–30s Vocal Range: G3–A5 Dance: Moderate–Good An iconic Australian vocalist; shy, gentle, deeply emotive. Audition Songs: #24 The Carnival Is Over and #30 Mama's Got the Blues RON EDGEWORTH Age: 30s–40s Vocal Range: G2–F4 Dance: Moderate English pianist/arranger; sincere, supportive, grounded. Audition Song: #50 Georgy Girl  (bar 65 to end) ATHOL GUY Age: Mid–late 20s Vocal Range: Bass F2–D4 Dance: Moderate Tall, charismatic, businessman of the group. Double bass skills (or mime). Audition Songs: #42 The Carnival Is Over #48 I'll Never Find Another You  (Reprise, bars 8–40) BRUCE WOODLEY Age: Mid–late 20s Vocal Range: Baritone A2–E4 Dance: Moderate Songwriter; thoughtful, creative. Guitar/banjo skills (or mime). Audition Songs: Same as Athol. KEITH POTGER Age: Mid–late 20s Vocal Range: Tenor G2–G4 Dance: Good mover Charming guitarist/banjo player; confident, warm. Audition Songs: Same as Athol/Bruce. JOHN ASHBY Age: Mid–late 20s Vocal Range: B2–B4 Dance: Moderate Tour manager; commanding presence, smooth English accent. Audition Song: #50 Georgy Girl  (bar 65 to end) BEVERLEY SHEEHAN Age: Mid–late 20s Vocal Range: A3–F5 Dance: Moderate Judith’s sister; supportive and grounded. Audition Song: #50 Georgy Girl  (bar 65 to end) EDDIE JARRETT Age: 40s Vocal Range: G2–E4 Dance: Moderate Manager; polished, smooth, English/Welsh influence. Audition Song: #50 Georgy Girl  (bar 65 to end) Ensemble Roles Vocal Ranges: Soprano C4–A5, Alto F3–E5, Tenor C3–A4, Bass F2–F4 Dance:  Good movers required. Ensemble appear in major numbers including Downtown , Glad All Over , Georgy Girl , I Am Australian , and more. Male Ensemble 1  – 40s; Judith’s father (Bill Durham) Male Ensemble 2  – 20s–30s; photographer Robert Whitaker Male Ensemble 3  – 20s–30s; Graham Kennedy Male Ensemble 4  – 30s–40s; Grade Executive Male Ensemble 5  – 20s–30s; Simon Dee Male Ensemble 6  – 20s–30s; American teenage G.I. Female Ensemble 1  – 40s; Judith’s mother (Hazel Durham) Female Ensemble 2  – 20s–30s; Mitzi Gaynor Female Ensemble 3  – 20s–30s; Waitress Female Ensemble 4  – 20s–30s; Ensemble Female Ensemble 5  – 20s–30s; Dusty Springfield

Blue – Sun and Wine Arts Company at PIP Theatre Written and Directed by Claire Yorston Starring Laura Renee, Hayden Parsons and Reagan Warner Sound Design by Hannah Page and Composition by Ziggy Enoch Lighting Design by Claire Yorston Sun and Wine Arts Company presented this original play by Claire Yorston , tracing a love story that appears sweet on the surface yet slowly reveals uncomfortable truths about trust, power, and control. Content warnings include domestic violence along with verbal, physical and emotional abuse. Set inside the intimate PIP Theatre studio, the space had been transformed into a cosy coffee shop, complete with pages plastered across the walls and columns. The old theatre seats meant we were all angled in one direction, which gave us a bit of a neck-tilt, but the overall design suited the grounded, everyday realism of the story. The sound design by Hannah Page and song composition by Ziggy Enoch added much to the atmosphere too: the café ambience, the ocean waves when they sat on the pier, the soft hum of songs. At first, Blue  appeared to be a simple romantic drama… but that soft glow didn’t last long. Elias, just 23 and working as a barista, falls hopelessly in love at first sight with a customer, Annette. “This is a love story,” narrator Reagan Warner tells us, already settled in his corner observing the pair like a Fate who wandered in for a coffee. The pacing moved quickly by design, taking us through the initial spark, the awkward flirting, the honest conversations and the moment they made things official. The writing had the lyrical feel of reading a novella or watching a short indie film. Annette, played by Laura Renee , entered the story with her walls built up high around her heart, and even armed with a list of printed questions for their first date in case the conversation stalled. Elias, played by Hayden Parsons , did his best to answer, sweet and awkward, while she silently judged every response (red flag number one). The whole date felt hilariously and painfully true to life, full of random tangents, unfiltered confessions and those tiny moments of vulnerability that catch you off guard. And when Elias looked at Annette and said “you add to my happiness,” I melted a bit. But Annette openly looked down on Elias for working in hospitality (red flag number two). As the relationship progressed, their dynamic shifted in ways that felt painfully familiar. People can absolutely lose their identity inside a relationship, and this play explored that slow erosion with uncomfortable accuracy. Reagan’s corner-of-the-room narration and emotional commentary became one of my favourite devices in the show. As the couple’s relationship sours, his frustration echoed the audience’s own. My early (good) assumptions about Annette transformed into a genuine frustration (props to Laura!) as she became increasingly dismissive and secretive and slowly chipped away at Elias’s sense of worth. Elias, meanwhile, wore his heart on his sleeve and didn’t recognise the warning signs until they were unavoidable, barely noticing her obvious body language. A short musical interlude from Laura on guitar landed beautifully, her voice expressive and aching on the lyric: “Now I’m covered in blood and I’m always blue, but thank God I don’t have to deal with you.” It felt like the emotional thesis of the show wrapped inside a haunting melody. The humour in the first half really worked, mostly thanks to Hayden’s natural timing and the easy chemistry between him and Laura. Their playful banter and the rare moments where they truly communicated were believable. Elias tried to set boundaries with real maturity, vowing he would never cage her, but by the final third things had soured. Annette pushed him to change his career and even talked him out of breaking up with her. Her past trauma explained parts of her behaviour, but it definitely didn’t excuse it. The final act was tough to watch as violence unexpectedly crept in. Laura's performance became genuinely chilling, while Hayden withdrew into himself - posture tightening, avoiding eye contact, his voice shrinking with exhaustion and fear. The play tackled the stigma around male victims of abuse directly with the line, “It’s not abuse? He’s a man." Despite Annette and Elias being, objectively, a terrible match, Laura Renee and Hayden Parsons created something magnetic onstage. Reagan Warner, however, was the standout for me. Invisible to the characters but completely present for us, his emotional accessibility and honesty were phenomenal. His final narration landed like a blow: “This is a real love story. One that didn’t have to happen. But not everyone deserves love.” That line absolutely wrecked me Claire! Her writing and direction carried us there with excellent pacing and a structure that was polished and compelling from start to finish. The audience was collectively absorbed by this story. Blue  was gripping, uncomfortable, beautifully acted and unexpected in its exploration of how love can curdle when control creeps in. A powerful original work from a team with huge potential.

I spent a full day at Queensland Theatre immersing myself in their free play readings and artist workshops, and honestly, it fed my creative soul in ways I did not even know I needed. Thank you to everyone involved. It felt like being handed a backstage pass to the future of Australian theatre. If they run The First Twenty again, I will be lining up at the door before they even unlock it. Kitty Cleans Up – By Maxine Mellor Directed by Sanja Simić This reading kicked off the day with an absolute bang. Kitty Cleans Up was a very Aussie, very funny whodunnit that explored the delightfully mundane world of house cleaning... and murder! Kitty, a no-nonsense mature-aged cleaner with the driest delivery, visits a regular client with her grandson Jet in tow. Jet is the picture of youthful disinterest, more invested in avoiding work than making an earning. When they stumble upon piles of cash hidden throughout the apartment and then find the actual dead body of Mr Madden in the study, the audience collectively leaned forward like we had just been handed popcorn. Then, a heavily pregnant stranger walks in claiming to be the dead man’s daughter, and from that moment onwards the twists just kept coming. Kitty had a wonderfully unfiltered sass, the kind of old broad who had lived long enough to stop caring about being polite. Maxine Mellor’s writing was sharp, playful, and wonderfully self-aware. The whole thing carried the tone of Only Murders in the Building if it had been plonked straight into suburban Brisbane. I left the reading already craving the next instalment of this delightfully messy mystery! Light – By Vidya Makan and Tasnim Hossain Even though we only saw three scenes and three songs of this musical-in-progress, Light already felt like the groundwork for something big, heartfelt, and culturally rich. It opens with a joyous ensemble number about community, connection, and the juggling act of everyday expectations. The music had a gorgeous percussive pulse running through it and, even though we were hearing recordings, you could feel the energy rippling through the room. The FMC’s solo is a beautifully grounded piece about the heavy responsibility of running her family’s medical clinic while still holding space for her own inner world. It was honest, tender, and instantly recognisable for anyone who had grown up around family businesses or inherited expectations. Jay’s solo, sung while he delivers UberEats (an international student trying to make ends meet), was cheeky with the quiet ache of someone caught between survival mode and ambition. Tonally, the whole piece hit that perfect sweet spot of Indian-family dramedy: blunt, warm, culturally specific, and deeply self-aware. I loved the way it blended ancient mythologies and gods with modern anxieties, adding a sense of magic and timelessness to what was, at its heart, a very human story. Even in this early state, the creative chemistry between Vidya Makan and Tasnim Hossain is undeniable. The writing was sharp and sincere, the music was catchy and rhythmically exciting, and the world-building felt both specific and universal. Something truly exciting is brewing here, and I can't wait to see where Light goes next. Aurochs – By Kathryn Marquet Directed by Daniel Lammin This one absolutely fascinated me. Bold, original, and quietly devastating, Aurochs unravelled the tangled history between humans and cattle, tracing our relationship across centuries like a living, breathing tapestry of ethics, survival, power, and consequence. I loved how Kathryn Marquet designed the narrative to move backwards through time, an incredibly clever choice that allowed each scene to reframe the one before it. We begin in 2067, with the world buckling under a future crisis of beef production, the kind of speculative fiction that does not require much speculation at all. From there, we jump to the 1980s and the panic of mad cow disease, then further back to the rise of industrialised beef production around the turn of the century. Next is the pre-American Civil War era, where issues of labour, class, and human cruelty intersect sharply with the treatment of cattle. Finally, we arrive in the 1600s and the extinction of the aurochs, the enormous wild ancestors of modern cattle. In this reading, we only visited the pre-American Civil War era, but I could already feel that the play will nudge the same quiet question in every period. How did we get here, and what have we learned? We met several characters. Charlotte was all fire and fury, railing against injustice with a conviction like she could drop into any century and still be wrestling with the exact same systems. Mary possessed a grounded, wise leadership as a former-suffragette, making her the emotional anchor of the scenes. Then there was Robert, a stuttering, nervous wreck attempting to confront the "big cheese" about the terrible conditions of the cows supplying milk to New York City (and ultimately poisoning the infants). There were so many great lines sprinkled throughout the reading, however “Fight for what you believe in, but do not lose your kindness” lodged itself firmly in my chest. The idea that advocacy without compassion becomes another form of violence. Stylistically, Aurochs never felt like a lecture, even though it tackled slavery, animal cruelty, capitalism, and ecological collapse. Instead, it felt like a deep exploration of how humans justify harm, how systems swallow us whole, and how our actions ripple endlessly forward or, in this case, backward. By the end, I was completely hooked. It was one of those readings where you could feel the potential radiating off the pages. This was only a taste, a sliver, a doorway into a much bigger world. I am genuinely desperate to see the full version one day because this reading only scratched the surface. No Need To Hide A Light When It Shines Like Hers – By Matthew Whittet This reading was adorable, chaotic, and heartfelt. Ada Lukin as Connie brought an excitable, nervous, slightly over-caffeinated energy that felt so true to young adults on the edge of big decisions. She had a comedic stutter in her delivery that hit just the right amount of “my brain is sprinting faster than my mouth can catch up!" Siena D’Arienzo as Grace was the perfect gentle counterpart. Where Connie fidgeted and spiralled, Grace floated around like the calm centre of the storm. She was serene, composed, a little clueless in a charming way, and unfailingly loyal. Together, Ada and Siena captured the dynamics of the friendship with such honesty: the comfort, the magnetism, the breathless confessions of every terrifying thought you cannot hold inside. I loved how sincerely the play explored identity through the world of physie and competitive dance, especially in a world where kids are often funnelled into paths chosen for them before they have a chance to find their own passions. Instead, we watch Connie realise that dance feels more like an obligation, while singing begins to feel like a true calling. The story deepens once Connie starts confronting questions about her absent father. Her decision to track him down leads to an awkward, strangely sweet meeting with Derek, played by Stephen Hirst. He is a gifted musician, socially strange, unexpectedly tender, and apparently... believe he is a werewolf? His quirks could have tipped into caricature, but Stephen balanced them so well that he became genuinely sympathetic. Their scenes together were some of my favourites, a mix of cringe, sweetness, and a surprising mutual understanding that neither of them quite know how to articulate yet. This reading slotted perfectly into the wave of YA stories I have been loving this year: Katie is a Marker-Sniffing Lesbian, Dance Nation, The Virgin-mobile, Tell Me Something, Blue. All these works capture the messy, bright, emotionally honest landscape of coming of age. By the end of the reading, I felt fully invested in Connie’s journey. I wanted to know what would happen when she tried singing. I wanted to see how Grace supported her. I wanted more Derek weirdness. I wanted Connie’s mum in the mix. I wanted the physie championships. If this becomes a full production, I will be there immediately because I am already wildly attached to these characters. The Light in the Sahara – By Lewis Treston Directed by Sanja Simić This two-hander was a massive highlight for me. It was the kind of piece that sneaks up with its humour and then suddenly blindsides you with emotional honesty. The play begins with a jarring and oddly funny moment: Boomer, her colleague, has died from a sudden heart attack. She calls her son from the wake, and the story launches into a wonderfully surreal journey that bounces between wanderlust, existential dread, and the kind of mother-son relationship that probably needs therapy but settles for a holiday instead. From the moment Christine O’Leary opened her mouth as the "mother", the audience was completely hers. She had that glorious Kath Day-Knight energy , the perfect mix of loveable dagginess, misplaced confidence, and an unshakeable belief that she was coping just fine even when she absolutely was not. She was instantly hilarious, instantly familiar, and instantly endearing. Her "son", played with a warm blend of exasperation and affection, asked his mum where she would go if she could travel anywhere in the world. She chose the Sahara, of all places, and suddenly we were swept into a bizarre and blackly comic adventure. "The world just got so loud one day" felt like the kind of line that summed up midlife burnout, modern overstimulation, and unspoken emotions with painful accuracy. "I cannot talk her out of an existential crisis when I am going through one myself" had the room laughing while quietly nodding in understanding. One of my favourite parts of the experience was seeing Lewis Treston in the audience absolutely cracking up at his own lines. For a two-hander, this felt surprisingly expansive, a reminder that you do not need a large cast to tell a big story. You only need two excellent actors, a sharp script, and a whole lot of humanity. I would see a full production of this in a heartbeat.   WORKSHOPS Scene One: A Director’s Guide – With Dr Benjamin Schostakowski This workshop was a little treasure chest of directing wisdom. Dr Benjamin Schostakowski, from NIDA has this calm, grounded confidence about him that makes every word feel like something you want to scribble down immediately. A few tips that I noted: Meet the play first.  Read the original version, do the research, immerse yourself in its history. Do not squash your concept onto it before it has had a chance to speak to you. The first read-through is sacred.  No interruptions, no intellectualising, no “what if we…” ideas. Just absorb it. Hold onto the lure.  That initial spark you felt when you first connected with the play is the anchor you return to when things get messy or confusing. Slow read equals facts and questions.  Do a slower read next and let the text show you what it contains. Write a column of facts and a column of questions. The questions become a collaborative journey you take with your actors. Active analysis.  Get up on your feet, improvise, explore, encourage autonomy. Let actors bring forward their own ideas. Break scenes by events, not tiny beats.  Focus on the major shifts, the big "ball game change" moments. It was such a generous and practical (albeit short!) session. I left with a full page of notes and a clearer sense of how I might approach directing if I ever step into that role again. Staying Present in the Creative Storm – With Emily Burton Emily Burton approached nerves, fear, perfectionism, and burnout with so much compassion that you could feel the whole room exhale a little. She shared somatic tools that were simple but powerful. The butterfly taps on the chest, the grounding breaths, the literal shaking of the body. She encouraged us to find our personal version of safety, whether that is music, movement, a mantra, a pet, a person, or something else. I appreciated how honest she was about the relentless schedules artists face. She reminded us that when the stress response cannot complete its cycle, it just keeps building until the body shuts down in whatever way it can: sleep, digestion, anxiety, exhaustion. We need to close the stress cycle so your nervous system knows the “threat” is over each day. Her workshop felt like a loving interruption to that spiral, a reminder that recovering from stress is a skill we must practice, not something that magically happens on its own. Nurturing Your Creative Practice – With Dr Margi Brown-Ash This was the most soothing, reflective way to end the day. Dr Margi Brown-Ash spoke with the kind of soft authority that instantly made the space feel safe and warm. We moved through meditation, creative journaling, gentle movement, and the idea of building a personal creative sanctuary. I loved the encouragement to think about where all our artistic selves live. What does our creative space look like when it is curated with intention? What does it need to contain so that we feel held, energised, and open? It felt like a permission slip to slow down and check in with ourselves, to nourish rather than constantly produce. After a full day of new ideas and buzzing inspiration, this workshop felt like a deep breath. FINAL THOUGHTS I walked out of Queensland Theatre absolutely buzzing. The readings were diverse, bold, funny, moving, and bursting with potential. The workshops cracked open parts of my artistic brain that had been sleeping for months, and I felt genuinely recharged in a way I had not expected. The whole day reminded me why I adore this community. The generosity, the curiosity, the excitement for new work, the willingness to share knowledge and hold space for emerging ideas; exactly the kind of accessible creative offering Brisbane needs more of.

Written by Rodgers & Hammerstein Directed & Choreographed by Lucy Martin Vocal Direction by David Valks Additional Choreography by Natalie Cassaniti “Don’t talk purty to me!” GCLT closes their 2025 season, celebrating their massive 75-year milestone, with a production of the comforting classic Oklahoma!  The season is basically sold out, and it only takes about ten seconds into “Oh, What a Beautiful Mornin’” to understand why. Now, confession time: I have never seen Oklahoma!  before. Not the film, not a school version, nothing. I walked in a blank slate, and I walked out thinking, “Oh… this is why it’s been revived since dinosaurs roamed the Earth.” So before we dive in, a short synopsis of the classic tale: Oklahoma!  is set in early 1900s America, following the romance between Curly, a charismatic cowhand, and Laurey, a strong-willed farmgirl who is far less immune to flirting than she pretends. As the community heads toward statehood, tensions simmer between farmers and cowmen, all while the brooding, volatile Jud Fry lurks at the edge of Laurey’s world. It is a story of young love, rivalry, community spirit, and the darker undercurrents beneath the prairie sunshine. Sean Curran’s set is a total GCLT special: detailed, immersive, and charming, like a toy-box prairie town that looks real enough to move into. A farmhouse and a barn façade straight from an old sepia photograph are paired with AV projections of rolling countryside and a cozy dance hall. The whole thing creates a subtle forced-perspective illusion that makes this modest stage feel twice its size, beautifully lit by Michael Sutton’s warm sunset tones and moody shadow cuts. Lucy Martin’s costumes are frilly, floral, flannel, and beautifully considered. The colour palettes suit each performer with uncanny accuracy. Isabella glows in soft pastels, and Elysium pops in bright blue and golden yellow that echo the sky and fields. It feels like early-1900s prairie couture with a modern eye for what flatters. Lucy Martin’s direction is light-footed and intentional. She leans into the light joy of Act I: the community riffs, the flirtations, the optimism... while letting the shadows creep in slowly at the edges. There is no live orchestra this time around because the stage simply cannot hold one, so the production leans on the R&H tracks instead. Under David Valks’ vocal direction, the cast sounds steady, strong, and wonderfully unified. Noa Fogarty, a bright young talent heading to the QLD Con next year, steps out to deliver “Oh, What a Beautiful Mornin’”. His tone is warm and golden (and dare I say deliciously James Marsden-coded). You can practically feel the sunshine cracking through the stage walls at his voice. Isabella Wiesenthal’s Laurey is pretty in pink, soft-spoken but steel-spined, and her crystal-clear, supported soprano is the kind of voice that makes you instinctively fix your posture. As the original will-they-won’t-they, Curly and Laurey’s duet “People Will Say We’re in Love” is sweet, flirty, and brimming with early-love coyness. Isabella plays Laurey as demure, but her eye-acting betrays the whole game. She adores every second of Curly’s attention. “Many a New Day” glimmers with sincerity, and the ladies’ dance break that follows is sweet and spirited, all perfect smiles and hopeful twirls. Shoutout to the duo choreography team of Natalie Cassaniti and Lucy Martin. And I believe all the hairdos are real? Ringlets everywhere! Shoutout to hair designer Ann-Britt Riget. If Laurey is subtle charm, Ado Annie is pure chaos and sunshine. Elysium Hipwood steals Act I with “I Cain’t Say No,” a wildly energetic, giggle-laced ode to being a hopeless flirt who simply cannot help herself. She is the original loveable dork who just so happens to have an astonishing belt! Her chemistry with Torrek Elbeb’s Will Parker is absurdly cute, especially in “All Er Nuthin’,” a duet that feels like watching two golden retrievers attempt to discuss exclusive dating. Torrek also leads the lads in a hilariously hyperactive “Kansas City,” a full song-and-dance expulsion of restless boy energy. Ashley Williams as Ali Hakim is a comedic gift. He plays the sleazy travelling peddler with a gravelly Harvey Fierstein-style voice and the timing of someone who has been doing vaudeville since birth. His big number “It’s a Scandal! It’s an Outrage!” is pure musical-theatre serotonin. Louise Thorpe grounds the entire town with a firm hand and a soft centre as Aunt Eller. She is both referee and heartbeat, offering warmth and authority in perfect balance. Then there is Gertie, with Nicolette Ditchburn weaponising perkiness with a giggle that should come with a warning label. Then... the lights shift, the humour drains, and something prickles. Jake Stubbs enters as Jud Fry, the unwashed, isolated, intimidating farmhand. “Lonely Room” becomes an unsettling glimpse into his twisted inner world, alongside beautifully lit staging. His presence around Laurey is genuinely uncomfortable to witness, exactly as it should be. Jud is the embodiment of everything simmering beneath the town’s wholesomeness, and Jake commits fully to the role. The tonal whiplash of Curly singing “Pore Jud Is Daid” is confronting, as Curly literally tries to convince Jud he would be more appreciated if he were to unalive himself. Noa delivers it with a chilling, cheerful darkness. These two young actors, Jake and Noa, are undeniable rising stars. Oklahoma! ’s famous dream ballet lands with a bang, beautifully executed. It moves from soft, sweeping romance — the ladies’ ensemble spinning in hopeful circles, curls bouncing, dresses fluttering — into Jud’s fantasy, a burlesque-style silhouetted nightmare dripping in red light and oppressive power. The use of chairs, shadows, and stage combat is fantastic. It is vivid, brutal, and even prophetic. “The Farmer and the Cowman” plays exactly like the childish campfire brawl it is, joyful, stompy, and silly. I caught myself tapping my feet like I was in an actual square dance. “Oklahoma!” (the song) remains one of the catchiest pieces ever written. Their rendition is rich, full, and bouncy in all the right ways. From here, things get funnier, flirtier, and then the rural bliss fractures. The final scenes unfold with a surprising dose of darkness, a reminder that Oklahoma!  is deceptively complex beneath its cornfed cheerfulness. This production is a sun-drenched celebration of young love, small-town pride, and simple life. A duality of a show, handled with enormous heart by a gifted young cast and a creative team that understands exactly how to blend nostalgia with bite. It is the perfect finale for GCLT’s 75th year. And I am still humming “Oklahoma!” (Help.)

Presented by: Taree Arts Countil at Manning Entertainment Centre Director / Choreographer / Costume Design: Ayesha Haeata Musical Director: Jess Evans Stage Manager: Lia Wrigley Set Design: David Denning Props: Helen Grooteman Lighting & Tech: Nathaniel Keegan Photography : Dave Evans Yes, this is Stage Buzz Brisbane and yes I’m reviewing a show in regional NSW. But it’s my former theatre company and frankly I can do what I want. So let’s start with the important question. What if Juliet didn’t die? That little question drives this joyful pop musical that flips one of theatre’s most famous tragedies and replaces the tears with glitter, girl power, and an alarming number of 2000s hits. Instead of ending in a tomb beside Romeo, Juliet chooses life and sets out to discover who she might become without the expectations of Shakespeare’s original script. As good-old Willy Shakespeare attempts to tell his tragic love story, his wife Anne Hathaway interrupts and insists Juliet deserves a better ending. What follows is a playful rewriting of the narrative in real time, sending Juliet beyond Verona into a glittering world of friendship, self-discovery, and pop anthems that audiences (particularly millennials) will instantly recognise. Built around the catalogue of pop hitmaker Max Martin, the show blends chart-topping songs with a theatrical twist. Banger after banger! The question becomes how many songs we can squeeze into one show? And this is a big show. But Taree Arts Council embraced that scale wholeheartedly. From the moment the actors appeared for some cheeky pre-show entertainment, it was clear this company had come ready to play. Then the opening number “Larger Than Life” exploded onto the stage and the show truly kicked into gear. For a pro-am production, their design ambition was striking. David Denning’ s set construction was impressively elaborate. A checkerboard floor, revolving set, aerial wires, and a looming mausoleum created a bold visual playground for the story. Graffiti artwork added modern texture while projected map visuals marked Juliet’s journey beyond Verona. The costumes, selected by director Ayesha Haeata , leaned fully into the show’s contemporary pop aesthetic. Corsets paired with sneakers and strong wig styling created a playful fusion of Shakespearean and modern fashion. Anne and May’s looks were particularly standout, while Juliet’s Act Two outfit was gorgeously eye-catching. Nathaniel Keegan’s lighting design was also spectacular, shifting from intimate storytelling to full concert spectacle. Pop musicals thrive on visual energy and the lighting here kept the stage buzzing with colour and movement from start to finish. Kate Simpson  shone in the central role of Juliet. She did not stay heartbroken for long once she learned of Romeo’s… extracurricular activities across Verona. Kate captured that pivot beautifully. Wounded, then empowered, then unstoppable. A true pop powerhouse, she tackled the demanding score with stamina and flair, particularly in Demi Lovato’s “Confident,” Britney Spears’ “Oops!... I Did It Again,” and the far too short “Stronger.” There were occasional microphone inconsistencies affecting Juliet and Shakespeare, which is unfortunate in such vocally demanding material. When balanced correctly though, Kate’s voice soared through the MEC! Travis Cross  was an undeniable scene stealer as Francois Du Bois. His outrageous accent, sassy stage presence, and natural comedic instincts made every appearance entertaining. It quickly became difficult for me to imagine anyone else playing the role. Katy Perry’s “I Kissed a Girl” was staged brilliantly, and Travis proved he had chemistry with the entire cast, particularly Juliet. Their friendship dynamic grounded the show nicely amongst all the noise. The Bois Band moment performing Backstreet Boys’ “Everybody” was a nostalgic highlight for this millennial reviewer, while Travis’ commitment during NSYNC’s “It’s Gonna Be May” earned plenty of cheers. Adam Gordon  fully embraced the theatrical absurdity of the lovably self-obsessed William Shakespeare. His portrayal leaned into the character’s ego and drama while maintaining playful self-awareness as he keeps quoting himself and inserting himself into the story. The cast committed well to the show’s British accents too, helping ground the action in Shakespeare’s world. Jessie Davidson  was a revelation as Anne Hathaway. Her adorably dorky, passionate characterisation injected heart and bite into the story, and her mix belt was phenomenal. Celine Dion’s “That’s the Way It Is” became one of the show's most sincere moments. Kim Stevens  was perfectly cast as Angelique, Juliet’s nurse. Katy Perry’s “Teenage Dream,” which turned into a mash-up with Ariana Grande’s early hit “Break Free,” became a delightfully absurd sequence alongside Dean Snook , while her performance of P!nk’s “Perfect” provided a genuinely lovely moment with Kate Simpson. Layla Clarke  showed wonderful promise as May, a talented young performer absolutely blooming. May’s story felt earnest and contemporary, and Layla handled it with maturity. Dean Snook  provided great comic support as Lance Du Bois, while Emily Ryan’ s Benvolio brought so many entertaining moments to Act 2. Meanwhile, Romeo feels like the “princess track” that pops up when least wanted. Just when you thought the show had moved on from him... His surprise rooftop return during Bon Jovi’s “It’s My Life” was peak ick, and Alex Blenkin leaned right into the character’s smouldering arrogance. His self-aware line “I am a douche!” may have been the most honest moment of the night. The twenty strong ensemble rarely stopped moving. They pranced, lifted, spun, and filled every corner of the stage with energy. Ayesha Haeata’s choreography was punchy and demanding, particularly during “Roar,” where the quick change moment was epic. The light-up jackets and fans in “One More Try” created striking visuals, even if the duet itself wandered pitch-wise at times. Musical Director Jess Evans  guided both cast and band through a vocally demanding score. With jukebox musicals like this the stamina required from everyone is enormous, and the band delivered the hit after hit soundtrack with finesse. Offstage singing was mostly clean as well. Other standout musical numbers included Jessie J’s relentless “Domino,” Kelly Clarkson’s famously difficult “Since U Been Gone,” and the beautiful duet Adam Lambert’s “What Do You Want From Me.” Director Ayesha Haeata  clearly understood the vibe of &Juliet . The production leaned fully into the camp, satire, and absurd humour that define the show. After all, the original Romeo and Juliet  is pretty ridiculous when you think about it. Two teenagers hook up, fall in love, marry, and die within a matter of four days. Producing & Juliet  is a huge undertaking for any company. Taree Arts Council rose to the challenge, assembling a talented cast and creative team who clearly had a lot of fun bringing this story to life. Most importantly, the production captured the show’s central message. Juliet’s story no longer belonged to tragedy. Instead it became a celebration of self-love, friendship, and the courage to choose your own ending.

The Mousetrap – New Farm Nash Theatre Written by Agatha Christie Directed by Sharon White As is customary, the last performance of the year at New Farm Nash Theatre takes us into Agatha Christie territory, which means two things: an abundance of suspicious characters and a vow that I must never reveal the murderer's identity to anyone. I take my oath very seriously… Although I did quietly guess correctly right near the end and feel extremely smug about it. The Mousetrap first hit the stage in 1952 and holds the title of the world’s longest-running play. Under Sharon White’s direction, its vintage charm is beautifully honoured, with the script serving up a buffet of clues, contradictions, twists, accusations, and red herrings, all delivered through genuine drama and self-parody. For a short, spoiler-free synopsis: The Mousetrap follows a newly married couple, Mollie and Giles Ralston, who have just opened their remote country guesthouse during a heavy winter snowfall. As their guests arrive one by one, news breaks of a recent murder in London. When a police detective reaches the house on skis, he warns that the killer may be hiding among them. With the phone line cut, the roads blocked, and every guest harbouring secrets, tensions rise as the unwilling group attempts to uncover the truth before another murder takes place.... Dun dun dun! Designed by Sharon White, Phil Carney, and Rob Crook, the set places us in the front room of the cozy British guesthouse. Picture green walls, a multitude of doorways, period furniture, embroidered artwork, a rug by the fireplace, a crackling radio, a writing desk, and luggage that looks as if it has lived many lives. It’s described as a “bit of a maze” and it certainly feels like one. There’s so much for the eye to catch, and it creates a deliciously claustrophobic space for this group of strangers who suddenly find themselves snowed in and forced to get along. Or not... Who knows? Helen Barrett and Matthew Hobbs star as Mollie and Giles Ralston. Matthew stepped into the role only two weeks ago, which is wild, because his dry wit and grumpy-gentleman presence fits right into the show’s rhythm. Their arguments feel incredibly real, especially as the paranoia in the house rises. Helen brings a sweet innocence to Mollie, always smiling/grimacing even when she probably shouldn’t be. I find myself wishing for even more emotional punch from her big dramatic beats, but she handles the sheer volume of dialogue with impressive dedication. The guests themselves are absolute characters. Brendan James as Christopher Wren is chatty, excitable, and bouncing off the walls like a kid who’s had too much cake at a birthday party. Chris Sibley’s Mrs Boyle is the “perfectly horrid woman” everyone loves to hate. She sweeps through rooms with wild eyes and a tongue sharp enough to slice through any peaceful moment. Matt McNeice’s Major Metcalfe is as friendly and warm as a cozy Irish pub. Philippa Dwyer’s Miss Casewell is a standout for me, sharp and composed with a mysterious air that keeps my attention every second she’s onstage. Then there's John Stibbard playing Mr. Paravicini, the "unexpected guest" who seems like he just stepped out of a gothic Italian opera. He's theatrical, intimidating, and has this creepy demeanour that makes the audience squirm and chuckle at the same time. He glances directly at audience members to make us uneasy (but technically he’s just staring at the wall). It’s such a clever, unnerving effect. One of my favourite little lines of the night comes from Mr Paravicini, who looks Mollie dead in the eye and purrs, “You and your husband are very trusting…” At last, Tyson Hargreaves bursts in as Detective Sergeant Trotter, the dashing cockney cop who insists, “this is a serious mah-ah!” His arrival accelerates the tension. Suddenly, clues pop up like everywhere, accusations fly, and the whole house turns into a tangled web of “he said, she said.” There are no phones, no fact-checking, and the unsettling realisation that every person in this house is carrying a past they would rather hide. The fun is trying to figure out who is here by coincidence and who is absolutely not . Phil Carney’s lighting and sound design support the mystery well, especially the dramatic radio music and the recurring, creepy tune of “Three Blind Mice.” Every time it plays, the tension in the room tightens. Costumes and hairdos suit the time period pretty nicely, with coats, hats, gloves and layers to emphasise how cold it is outside. The accents throughout the show are mostly well done, with the cast leaning into various flavours of British regional dialects. What I really admire is how Sharon White leans into the self-parody of Christie’s writing (and the whole detective mystery genre) without ever mocking it. She lets the humour coexist comfortably alongside the tension; like “There are more important things than meals!”, as Mollie tries to duck out of a murder interrogation so she can go cook dinner. Priorities... I get the sense that Sharon White has told every actor from day one to behave like they are the killer, and it works, for I am constantly adjusting my inner suspect list. The audience was thoroughly engaged throughout, letting out dramatic gasps and buzzing with whispered theories. To the performer behind the murder… the way you shifted character to unleash that charged intensity in the reveal was genuinely chilling. It looked like an absolute thrill for you to play that role. Bravo. Tickets are wonderfully affordable, which makes this a great night out for anyone who loves a classic mystery. The season wraps up on 6 December, so make sure you grab a ticket here while you can. My lips are now sealed.

Presented at Twelfth Night Theatre Directed by Deian Ping Music Direction by Nicky Griffith Choreography by Julianne Burke Photography by Creative Street & Pif Productions "There's a dream in the future. There's a struggle that we have yet to win." There are certain shows that never fail to lift your heart, and Hairspray  is firmly on that list for me. Queensland Musical Theatre clearly understands the joy baked into this story and jumps right in from the start. For anyone who's somehow dodged this musical/film, Hairspray  follows Tracy Turnblad, a Baltimore teen with a big heart, a bigger dream, and absolutely no interest in shrinking herself to fit anyone’s expectations. She fights for a spot on her favourite TV dance show, tumbles head over heels in love, breaks down a few terrible social norms, and pulls everyone toward a brighter future. The script is intentionally riddled with the attitudes of the era (racism, fat-phobia, ableism, etc.) so that the story can give them a good ol’ smackdown. This production keeps the set simple to allow room for the enormous cast, but it never feels bare. Bright costuming and wonderfully ridiculous retro projections do a lot of the visual lifting. Every time a new colourful graphic splashes across the back wall, it is so kitschy that you can’t help but giggle. Hairspray is notoriously tricky to cast — you need performers who can sing, dance, and have the right character "look". Big applause to director Deian Ping for putting together a team this large who can keep up with the show's demands! From the moment Eloise Newman springs out of bed for “Good Morning Baltimore”, the show takes off like a rocket. She is a brilliant Tracy, with a voice that balances sweetness and power, nailing every big number like it’s a piece of cake. “I Can Hear the Bells” is especially fabulous. She throws in an opt-up, with gorgeous harmonies (and handheld bells) swirling around her, while the haze and lighting create a dreamy rom-com glow. Eloise shines brightest when she leans into Tracy’s dorky humour. Eloise is an absolute joy both on and off the stage. Her later performance in the “Baltimore Reprise” is another standout, especially with the line “I’ll eat some breakfast then change the world!" Nicholas Joy as Link and Wednesday Reign as Penny both appear right at home the second they walk onstage. Nicholas vocally dazzles in “Without Love,” with the full band energising his committed, lovelorn acting. His chemistry with Eloise feels warm and endearing, and his solo “It Takes Two” is beautifully enhanced by excellent lighting. Wednesday’s portrayal of Penny is excessively dorky, and her voice is remarkable, particularly in “Mama I’m A Big Girl Now”. Seaweed, played by young Joshua Davis, is one of the show’s most exciting discoveries. For his first time stepping out of junior theatre, he's unbelievably cool, groovy, and confident. He breezes through “Run and Tell That” with suave ease. Shoutout to Little Inez (AvaLyn Doherty) and Gilbert (Johnathan Vongdara) — always fully engaged, dancing with passion, and totally enjoying the moment. Rudo Banya doesn’t arrive as Motormouth Maybelle until later in Act 1, but when she does, the whole room lifts. Making her grand entrance into the world of musicals, her rendition of "Big, Blonde and Beautiful" was such a blast that I wanted to sing along too! And “I Know Where I’ve Been” was a total showstopper, lifted higher by the gorgeous ensemble vocals. Jason Kiger and Steve Beck are perfect as the daggy Turnblad parents. Traditionally, a guy plays Edna, and Jason brings the sass, hilarity, and rocks that v-neck dress with some seriously epic fake cleavage. I was honestly worried they might accidentally pop out at one point! Steve Beck is the ideal match as Wilbur. Their duet “You’re Timeless to Me” is packed with humour, terrific vocals, and just the right touch of cheeky chemistry. As the villains go, Liana Hanson’s Velma von Tussle is perfectly detestable — polished cruelty, snappy lines, and a wig-and-dress-suit combo that screams "evil chic." Her vocals in “Miss Baltimore Crabs” are astounding and definitely one of the musical highlights. Jade Plaistow as Amber goes all in on a high-pitched, Tour-Guide-Barbie persona. Her slightly doll-like movements fit the character choice perfectly. Whether or not the character choice is your cup of tea, you have to admire Jade's strong commitment. Lachlan Gleadhill, playing Corny Collins, makes an impressive debut. With a stunning voice and charisma, I believe he has the potential to bring even more to the character! Gabriel King perfectly embodies Mr. Spritzer with his game-show-host grin and voice, fully embracing the character. Choreography in Hairspray  is no small task, and Julianne Burke has clearly worked hard to shape a cohesive world for such a large ensemble. “The Madison” is a particularly fun number with dance style switch-ups and a full stage of slick moves. The brief tap break in “The Big Dollhouse” was a welcome surprise that got a great reaction. Just a tiny tip for “It Takes Two”: remember that even though the spotlight is on Nicholas, audience members can see where your eyes go, so keep your adoration locked in on him! “Nicest Kids in Town” is strong and could be even more so. This show thrives on excess, and you simply cannot be "too much" in this number! Eighteen musicians, led with precision by Nicky Griffith, fill the room with that irresistible sixties pop sparkle (shoutout to the horns especially for that extra punch!) There are small moments where the pace dips or dialogue lags, but these feel like natural opening-week tweaks. There is a touch of upstaging from a few actors, though not in a way that derails scenes. It’s the kind of enthusiastic energy that naturally happens in large amateur ensembles and would be less noticeable if the whole cast matched that energy intensity. Some costumes look slightly ill-fitting and may affect performer comfort, but the overall aesthetic is colourful, bright and very sixties: colourful skirts, high hair, and groovy silhouettes. The lighting complements the colourful costuming, retro vibe and the sixties-TV-style backdrops, and there are some fun set pieces and effects sprinkled throughout. “You Can’t Stop the Beat” is notorious for being one of the hardest finales in musical theatre because it never stops and barely allows a breath, but this cast powers through with big smiles and bigger stamina. The entire ensemble throws themselves into it, but Nicholas in his dazzling jacket, gives more energy than anyone out there and absolutely owns the final moments. Overall, this is a big-hearted, enthusiastic production of Hairspray  full of emerging talent, strong vocals, colourful characters and genuine joy. You can feel the love and effort behind it. With a few polish points it will soar even higher, but as it stands, Queensland Musical Theatre offers a vibrant, fun night out that celebrates community, inclusivity, and the huge spirit of Hairspray .

Written by Emma Dean | Directed by Belinda Raisin | Musical Direction by Tony Dean Performed by Cheep Trill at Thomas Dixon Centre for the Brisbane Festival Photography by Barbara Lowing   Warm, hilarious, and overflowing with heart, Community Choir: The Musical  captured everything that makes Brisbane’s arts scene so special: the joy, the quirks, and the undeniable sense of community that ties it all together! As part of Brisbane Festival , this show was the perfect opener; a homegrown story bursting with local pride, creativity, and plenty of laughs. Written by Emma Dean and directed by Belinda Raisin , this original musical told the story of a ragtag Brisbane choir (Cheep Trill) that somehow found themselves accidentally invited to the prestigious National Choral Competition in Sydney. What begins as a simple rehearsal quickly spirals into a whirlwind of excitement, panic, drama, and a sprinkle of magic when the flamboyant Spirit of the Song  appears: a glittery guide that only one choir member can see and hear. What followed was a touching and laugh-out-loud journey through self-doubt, friendship, and finding your voice (literally and figuratively). Early on a line struck me: “People say choir is my whole life. They are correct.” At that moment, I knew we were in for something both hilariously relatable and sincere. As audience members entered, we were greeted by an interactive pre-show that made it feel like we’d stepped right into their rehearsal hall. Posters decorated the stage (“Used dentures for sale” one definitely caught my eye), and a haze-filled atmosphere set the tone for the most hauntingly beautiful Acknowledgment of Country I have ever witnessed , performed and written by Michelle Roberts under stunning lighting design. The three-piece band, led by MD Tony Dean on drums, pumped the theatre full of energy throughout. The moment the full choir launched into Welcome to the Choir , the entire theatre lifted. Their harmonies were full-bodied and joyful, and the lyrics “You are welcome, even if you can’t sing” summed up the show’s inclusive spirit perfectly. This particular performance featured the Northside Brisbane cast , and what a team they were! With more than a hundred singers of all ages and abilities, this was community theatre in its purest form. The ensemble wore bright, casual outfits that felt straight out of a local rehearsal; a beautiful visual of authenticity and colour. Jen Codognotto as Judith was a standout, delivering her scenes with comic precision and warmth, while Lucy Sweeney as the Spirit of the Song sparkled – literally and vocally – in a fairy-angel ensemble that glittered under the lights. John Catania as Johnno was hilariously endearing, especially in his solo The Chosen One . His newfound superpower: the ability to hear everyone’s thoughts through song, was a stroke of genius and had all the charm and heart of a Zoey’s Extraordinary Playlist  episode. There were so many memorable songs. Carve Out My Place , performed by Helen Beauchamp ( Harriet ), was a vocal highlight, her a strong belt holding heartfelt conviction. All By Myself  by Jaspa Woolford-Clark ( Connie ) captured the aching vulnerability of self-doubt in a crowded room. Waiting Room  was wonderfully choreographed, with furniture blocking that ticked in perfect time, while Weetbix Song  managed to be both silly and moving. Belinda Raisin’s direction was clever and clearly grounded in love for her performers. She made sure everyone had their moment. The use of risers meant the majority of the choir could always be seen, and the transitions were impressively tight for such a large cast. I adored her cameo as Bernard Dubois , the over-the-top adjudicator in a sparkly tux, complete with a fake moustache, a hoverboard, and what I can only assume was a pillow stuffed under her shirt! By the time Bigger Than Me  arrived, the whole audience was clapping along. The front row even got up to join the flash-mob style finale, and before I knew it, the entire theatre had turned into a mini Pub Choir moment. The original music was catchy and fresh, full of clever lyrics and contemporary choral arrangements. Emma Dean’s writing found that perfect balance of sincerity and silliness. I saw myself in so many of these characters: the Taylor Swift-obsessed girl, the people-pleasing administrator, the bitter ex, the hopeless romantic... and judging by the lughter around me, I wasn’t the only one relating. There was something deeply touching about how honestly these fragile, funny, real people were portrayed. Their flaws made them loveable, their chaos made them human, and their music made them unforgettable. Community Choir: The Musical  was a zesty dose of joy and confidence, a tribute to the power of music and the bonds it creates. For a cast made up of 95% non-professional performers, this was an extraordinary feat. It was personal, passionate, and quintessentially Brisbane . By the end, less like an audience observing a choir and more like a community sharing a unique experience. This original musical was for anyone who have ever sung in a choir, wished to, or simply loves the sound of people coming together to make something bigger than themselves.