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Title:  The 24 Hour Musical Project – 2025 Presented By:  The 24HMP Foundation Ltd Genre:  Musical Theatre Synopsis: The 24 Hour Musical Project is a unique community fundraiser where performers, producers, and technicians mount a full-scale musical production in just 24 hours. Auditionees do not know the show title or their roles in advance. Ten days before the event, a shortlist of 10 potential musicals is revealed, with one eliminated each day until the final selection is announced at the start of the 24-hour rehearsal period. After an intense day of rehearsals, the production culminates in a one-night-only performance. Audition Dates: Saturday 15 March 2025 Sunday 16 March 2025 Audition Time: Sessions between 9:00 AM – 4:00 PM General Dance Call: 12:30 PM (mandatory) Advanced Dance Call: Immediately after General Dance Call (for proficient dancers) Audition Location and Address: Sherwood, Brisbane (exact location to be confirmed upon registration) Audition Registration: Apply Here Audition Pack: Download Audition Pack Audition Requirements: Must be 18+ and experienced in musical theatre. All auditionees must be available from 5:00 PM Saturday 12 April to 11:00 PM Sunday 13 April with no exceptions. A one-page résumé (with a headshot) must be submitted during registration. IN-PERSON AUDITION: Vocal Audition:  Prepare two contrasting musical theatre songs (approx. 32 bars each). Provide clearly marked sheet music in the correct key (no backing tracks or a cappella). We recommend that you prepare songs which contrast in period and style; additionally, please also consider contrasts of character and vocal type/range - use this opportunity to present your best attributes. You may be asked to sing one or both excerpts. Acting Audition:   You will be provided with a choice of short scripts to prepare with a partner during the audition session. You will be requested to perform it without script-in-hand if possible. Singing Ensemble Audition:  You will be taught a short section of part-singing to perform in a group. It is imperative to the success of the project that you are able to learn parts quickly and confidently. Dance Audition:  You will be taught a short ‘Broadway jazz’ dance routine to perform in a group. Different levels of the routine will be taught for different levels of dance experience. Please wear appropriate shoes (ladies: chorus heels are preferred). Tap and ballet skills may also be tested, so please bring a selection of dance shoes if you have them. Proficient dancers are also required for the Advanced Dance call (immediately following the General Call) Costume Fittings:  Measurements will be taken during the audition. VIDEO AUDITION SUBMISSIONS: Record your audition following the adjusted audition requirements below. Upload your video to YouTube, Vimeo or your preferred video platform. Register for an audition on the website, selecting “not available” when asked about audition session times and confirming you are submitting a video audition. You will then be asked to provide the link to your recorded audition. Please complete your entire audition in one continuous take – do NOT edit the footage. Perform excerpts from two contrasting musical theatre songs - approximately 32 bars. Perform a very short monologue or two-person scene (with a scene partner) from memory. Approximately 1 min and preferably comedic. Optional: perform a short musical theatre/Broadway jazz routine, if you have the skill and the space! Approximately 1 min and preferably in heels for ladies. Available Roles: Roles will not be disclosed until the announcement dinner on 12 April , right before rehearsals begin. Performance Time: Sunday 13 April, 6pm Performance Location: Hillbrook Anglican College Performing Arts Centre, 45 Hurdcotte St , Enoggera QLD 4075 Rehearsal Times: 5:00 PM Saturday – 6:00 PM Sunday Warnings: This is an intensive project with non-stop rehearsals for 24 hours. While meal breaks and some downtime will be scheduled, expect little to no sleep. Once cast, there is no option to decline your role. Required Age: 18+ only Production Website: www.24hourmusical.com.au Other Information: Production Fee:  $75 (covers catering and participation costs) Crew & Support Team applications open on 22 February 2025 Orchestra applications close on 7 March 2025 .

Marvel, mystery, and a whole lot of magic – 'Theatre of Magic' at Rydges Hotel in Fortitude Valley is a must-see for anyone who enjoys being astonished. With a mix of world-class illusions, sharp comedy, and some truly mind-blowing tricks, this intimate theatre offers an unforgettable experience. Whether you need a unique date night, a fun family outing, or just looking to inject a little wonder to your weekend, this show is guaranteed to leave you spellbound. The show was divided into two segments: a captivating 30-minute close-up magic performance by Christopher Wayne, followed by a 45-minute stage act by The Amazing Nigel. Believe me, both were packed with moments that left the audience gasping, laughing, and whispering, “How?!”   From the moment you walk in, the magic duo of Christopher Wayne and The Amazing Nigel made sure every single person felt welcome. They personally greeted each audience member at the door, and Nigel even went the extra mile to memorise everyone’s names. That’s right – he knew every person by name. And by the end of the night, we were all laughing together like old friends. Christopher Wayne, renowned Vegas headliner and one-half of The Naked Magicians (though fully clothed on this occasion I assure you), exudes pure charisma. His comedy is quick, charming, and never awkward or cringey, with a knack for keeping the audience completely mesmerised. His tricks? Astonishing of course. He casually produced a bowling ball out of an art book, amazed us with a clever celebrity "Guess Who" trick, and left us in awe with his sleight of hand card tricks. But the moment that absolutely floored me? The Coke can trick. Right before our eyes, he took a crushed, empty can, restored it, refilled it, and resealed it—only to dramatically shake it and pop it open, spraying soda everywhere. Then there's The Amazing Nigel—and believe me, "amazing" doesn't even begin to cover it. His performance is a flurry of magic, mischief, and memory tricks. One moment, he's showcasing an incredible memory feat; the next, he's executing a full-scale magic trick with an old banana or a newspaper. But the most astonishing moment for me? The $100 bill and the lemon. I watched the bill vanish before my eyes and transform into a $5 bill, only for the $100 to reappear inside an uncut lemon. HOW? Nigel's act radiates a wonderfully chaotic energy that appears entirely spontaneous, yet each move is carefully crafted. A memorable moment was a trick where he revealed the secret to the audience while keeping it concealed from the participants—a clever touch that had us all laughing at their expense. And just when you think you've figured out his strategy or a trick seems to have gone wrong, he astounds everyone by completely turning the tables with some truly unbelievable feats.   Throughout the night, the audience participation was perfect. Willing legends were called up (by name of course) to assist with tricks, props were distributed, which they got to keep (ranging from awesome items like a block of Toblerone or a sandwich maker to utterly pointless ones like a slice of cheese or a piece of rope). Even the smallest details were thoughtful – from the customised letter cards to the Lindt chocolate on each seat, everything felt premium and personal.   By the end of the show, one thing was clear – unless you are a total bummer, this is a show you’ll want to see again. I overheard some audience members who were on their second or even TENTH visit, and honestly? I get it. With a rotating lineup of magicians and ever-changing tricks, no two shows are exactly the same. And with 'Theatre of Magic' performing every weekend in Brisbane (plus a monthly show in Toowoomba), it’s the perfect excuse to relive the magic and experience the wonder once more.   So, if you enjoy magic, laughter, and a touch of absolute WHAT-THE-HECK-DID-I-JUST-WITNESS, do yourself a favour – grab a ticket, sit back, and prepare to be amazed.   Theatre of Magic is s uitable for ages 10+; $69 to $89 for VIP seating; theatreofmagic.com.au

Centenary Theatre Group’s production of ' Veronica’s Room' , written by Ira Levin and directed by Rhyll Bucknell, is a chilling psychological thriller that ensnares its audience in an intricate web of deception, suspense, and unnerving twists. Featuring Meg Hinselwood, John Bennetto, Peter Van Werkhoven, and Mariam Mijnnsen—credited only as Woman, Man, Boy, and Girl (for reasons that become clear later)—this production masterfully blurs the lines between reality and perception, leaving the audience teetering on the edge of uncertainty.   Without giving too much away... John and Maureen Mackey, the caretakers of the Brabissant mansion, strike up a conversation with a young couple, Susan and Larry, at a restaurant and persuade them to visit the house. When they reveal that Susan bears an uncanny resemblance to the long-deceased Veronica Brabissant, they ask her to impersonate Veronica briefly to bring comfort to Veronica’s elderly and ailing sister, Cecilia. What begins as a friendly favour soon spirals into a psychological nightmare as Susan finds herself trapped in Veronica’s old room. Reality begins to blur, trust becomes a fragile illusion, and the boundaries between past and present dissolve as Susan—who knows herself to be from 1973—is manipulated into believing she is actually Veronica, living in 1935.   From the outset, Meg Hinselwood and John Bennetto establish an uneasy tension, striking a fine balance between the warmth of welcoming strangers and the underlying sense that something is unshakably  wrong. But once Mariam Mijnnsen’s Susan steps into Veronica’s shoes—both literally and figuratively—the production transforms into an unrelenting psychological battleground.   Mariam Mijnnsen delivered the standout performance of the night. Her transformation from a friendly, unsuspecting young woman into a state of disoriented distress and terror was utterly compelling. One of her most chilling scenes came when she clung desperately to her 1973 reality, rattling off facts and famous figures in a futile attempt to anchor herself in her own time. She balanced Susan's vulnerability and assuredness with precision, making her character’s journey deeply memorable.   Meg Hinselwood tackled the role of the Woman with unnerving conviction, navigating a character that demanded a drastic shift in both demeanour and presence. Her transformation from seemingly benevolent to spine-chilling malice was both gradual and striking. John Bennetto and Peter Van Werkhoven provided solid support, though their performances occasionally lacked the same weight and presence as their female counterparts. Nevertheless, their character shifts in Act Two were executed well and contributed to the play's growing sense of unease.   The production’s design choices amplified the narrative’s sense of confinement. The set design was a standout element—a richly detailed time capsule of Veronica’s preserved bedroom, initially draped in sheets. Every detail, from the imposing wooden door with its heavy lock to the aged textiles, gramophone, and barred windows, contributed to a creeping sense of inescapability. Lighting and sound were used strategically to heighten tension, with subtle atmospheric shifts reinforcing the play’s psychological horror elements.   At around 100 minutes, Veronica’s Room  is a tightly wound thriller that demands unwavering attention. Rhyll Bucknell’s direction ensures the suspense never wanes, with each scene layering another level of discomfort. At times, dialogue delivery felt disjointed and a few early lines from the Man were lost, slightly dampening the impact of the play’s initial buildup. That said, the clarity improved as the play progressed, allowing the final act to land with full impact. The setting was well reflected in the costuming, particularly in Susan’s transition from the free-spirited attire of the 70s to the restrictive clothing of the 30s—a symbolic visual shift.   'Veronica’s Room'  is not for the faint of heart. The production plays with perception so effectively that by the time Susan is desperately asserting her identity, the audience, too, is questioning everything they thought they knew. The second act fully embraces the play’s mind-bending nature, unfolding like a fever dream that tightens its grip with each passing moment. As the final revelations come to light, they are as unsettling as they are exciting—I only pieced it together mere moments before the truth was revealed.   This was a brilliantly executed production that left its audience unsettled—a chilling reminder of the terrifying power of psychological manipulation. Dark and deeply disturbing at times, the play delivered a sharp, intelligent, and suspenseful theatrical experience.

Tugun Theatre Company's staging of ' Checkmate ' brought a classic whodunit to life with intrigue, layered performances, and a thrilling game of deceit. Under the direction of Cee Campbell, this play by Leslie Sands delivered a suspenseful story full of twists and turns to keep the audience guessing right up until the final dramatic moment.   Set in the living room of washed-up television actor Peter Conway, the play opens with a striking scene: Peter, played with an natural charm by Nathan Schulz, pours himself a drink after discovering his wife, Stella, dead from an apparent drug overdose. But rather than reacting with immediate distress, Peter remains unnervingly composed as he contacts the police. Enter Detective Sergeant Drummond, portrayed with quiet tenacity by Viv Gian. Initially starstruck by the former TV star, Drummond soon begins to pick apart the inconsistencies in Peter’s story. Through a series of flashbacks woven into their exchanges, the truth behind Stella’s death begins to unravel—was it an accident, suicide, or something far more nefarious?   Nathan Schulz was an undeniable force as Peter, expertly capturing the character’s arrogance, charm, and slow unravelling as suspicion mounts against him. He brought a sleazy quality to the role, embodying a man who thrives on the chase more than the prize, and who mourns the loss of his career and fame more than his wife. Peter, once famous for his role in the TV series 'Inspector Savage' , means he is no stranger to playing a detective, yet now, in reality, he finds himself on the other side of the investigation. The question looms throughout the play: is Peter truly innocent, or is his innocence just another performance?   Vivian Gian, as Inspector Drummond, was the perfect foil to Peter’s self-serving bravado. Friendly yet sharp, her keen intellect allowed her to unravel Peter’s hidden financial troubles and possible motives. Their dynamic, which dominated Act One, was a masterclass in unspoken communication and intellectual sparring. Vivian’s performance was the undeniable standout, bringing a mesmerising depth to Drummond and crafting a masterful clash of wits that was rich with tension and moments of dry humour.   Peta Schulz was brilliant as Stella, Peter’s long-suffering wife. Through flashbacks, we witness Stella’s painful transformation—from a young, hopeful woman to an embittered spouse, trapped in a marriage with a man who stifles her success. Peta infused Stella with intelligence and fire, making her a formidable presence rather than a mere victim of circumstance. As the play unravels Peter and Stella’s tumultuous relationship, we see a drunken man caught in self-sabotage, constantly losing roles while refusing to let Stella work. Peter’s increasing selfishness makes him more detestable as the play progresses, but I love how Stella throws insults back at him. She sees through his façade, fully aware of his infidelities. No longer interested in playing his game, she disengages—resolute and unyielding. The chemistry between Nathan and Peta, as a real married couple offstage, made their on-stage relationship feel even more authentic and entertaining.   Chantelle Miller was a standout as Lori Nilsson, the young American actress drawn into Peter’s world. From the moment she stepped on stage in a striking red dress, she commanded attention with her confidence and allure. Her initial dismissal of Peter—boldly insulting the star of the show—was a surprising move, which made her eventual affair with him both captivating and somehow inevitable. As their (unseen) relationship evolves into something passionate and possessive, Chantelle portrays Lori’s assertiveness with moments of vulnerability, revealing an underlying insecurity beneath her confident exterior.   Robert Quirk made a strong impression as Richard Shaw, Peter’s agent, despite entering later in the play. His portrayal of a man consumed by unrequited love for Stella and burdened by guilt over her death unexpectedly enriched the play's emotional arc and filled in crucial gaps in the story. Though his stage time was limited, Robert’s performance was filled with quiet intensity.   The play’s structure demanded audiences to stay fully engaged, as much of the tension lay in the dialogue and the ever-shifting suspicions surrounding Peter. While the first act leaned heavily on conversations between Peter and Drummond, the precarious situation between Schulz and Gian ensured these scenes remained compelling. Flashbacks provided crucial context, although some moments—like Peter’s imagined interrogation of Lori (?)—recycled information we already knew. However, as the puzzle pieces began to fall into place, the pacing picked up, building to a satisfying, gripping final act.   Having seen several whodunits recently, I found the slower pacing at the start, combined with the dialogue-heavy script, required a lot of concentration—something made more challenging by audience noise and the vast distance between the stage and the audience in the hall. Despite these minor challenges, the production succeeded at immersing the audience in 1990s London, with thoughtful costumes, realistic accents, and set pieces that richly brought the world to life. The costumes, designed by Cecile Campbell and the cast, were well-chosen, with Chantelle Miller’s glamorous red dress standing out as a defining piece that encapsulated Lori’s seductive yet dangerous allure. Lighting by Jasper Lee and sound by Molly Dean were vital in distinguishing the flashbacks from the present-day scenes. Their smooth transitions ensured the clarity of the two timelines.   The final confrontation between Peter and Drummond was a masterstroke of verbal sparring, with Peter desperately trying to control his narrative while Drummond methodically dismantled it. Ultimately, the show delivered a captivating and intelligent drama, with stellar performances and precise direction. The tension built to a powerful crescendo in the final moments, culminating in a satisfying conclusion that perfectly underscored the true cost of ambition.

Imagine this: you're just going about your day when suddenly, people start singing. Before you know it, a full-blown musical pandemic sweeps through your city, all thanks to a meteor strike. Welcome to ' The Guy Who Didn't Like Musicals'  at Javeenbah Theatre. Directed by Fiona Mumford, this zany production was the perfect mix of comedy, chaos, and everything you love (and maybe dislike) about musicals. If you’ve ever seen 'Zoey’s Extraordinary Playlist,' it’s got that same wild premise—except here, instead of just one person hearing spontaneous songs, it’s the entire town bursting into full-blown musical numbers, whether they want to or not. This show was an absolute trip in the best possible way; it was also my first time seeing a Starkid production live. Benjamin Bristow (as Paul, our everyman hero) introduced us to his deep disdain for all things musical. But as the musical apocalypse hit, his world quickly spiralled into a nightmare of spontaneous song and dance. For Paul, this was torture. For the audience? It was comedy gold. It was clear from the start that the cast was having an absolute blast with this premise. The show leaned into musical tropes, poking fun at the very genre that has made so many of us fans—and the audience was all for it. Let’s talk vocal talent. Jade Goldberg (Zoey/Alice) was a standout. Her lead performance of " La Dee Dah Dah Day"  was a stunning surprise. Then there was Maegan Weir, who delivered multiple powerhouse solos. First, in " What Do You Want, Paul?" , she serenaded her employee Paul in the least appropriate way possible. Then, as Sam, Maegan sang “You Tied Up My Heart,” and let’s just say the intensity of the moment was as sharp as her vocals. Amelia White (Charlotte) was truly funny and her voice was fantastically powerful,  especially in " Join Us (and Die)" . Elijah Haze (Ted) brought great energy and I thought he was hilarious in every single one of his scenes. Sabre Lilly (Emma) had great chemistry with Bristow’s Paul, particularly in their back-and-forth moments. And then there was Lonnie Toia (Bill)—who made for an incredibly unsettling zombie/alien with just a shift in posture and a dead-eyed stare. If there were an award for "Best Facial Expression in a Zombie Role," Lonnie would have won it, hands down. Jake Goodall was comedic gold as Professor Hidgens. He’s got it all: physical comedy, perfect one-liners, and that “I’m-having-way-too-much-fun-with-this” energy that you can’t fake. His “Show Stoppin Number” was an unexpected highlight—complete with a costume change, Fosse hands, and a whole lot of pizzazz. The direction by Fiona Mumford deserves high praise. She ensured a balance between absurdity and sincerity, ensuring that we remain invested in the characters even as it got more ridiculous. Her ability to play with the genre’s tropes—both embracing and satirising them—added to the show’s charm. Clever touches (like the fake foot) enhanced the comedy, while her direction brought out the best in the cast, allowing each performer to shine in their own unique way. And let’s not forget the music. Alex Angus, the Music Director, did a brilliant job rocking it out on synth and guitar, while conducting the band, like the total rockstar that she is. A live band always elevates a production, and this four-piece ensemble was no exception. The set was minimal, with plenty of greenery to emphasise the chaotic spread of the "alien infection." The costumes were simple and functional, and the makeup was glittery, green, and gorgeous. The sound in Javeenbah Theatre was crystal clear, with mic amplification that actually flattered the vocals instead of making them sound like they were coming from a megaphone. I didn’t realise until the end that Paul hadn’t sung once. But when Benjamin Bristow finally let loose in “Let It Out,” it was a cathartic moment, and his vocals did not disappoint. I’ll remember his performance less for the singing and more for the way he hilariously embodied Paul's increasing stress as everything around him went from bad to worse. All in all, this show was an absolute blast. It was weird, wonderful, and filled with heart underneath all the ridiculousness. I can only hope Javeenbah Theatre continues to bring more musicals like this to the stage—because I’ll definitely be back for more.

Title:  Alice in Wonderland: The Pantomime Presented By:  The Spotlight Theatrical Company Genre:  Pantomime Synopsis: Step into a world of whimsy and wonder with "Alice in Wonderland: The Pantomime!" Follow Alice as she tumbles down a rabbit hole into the absurd world of Wonderland, where logic is turned upside down. Along the way, she encounters quirky characters such as the Cheshire Cat, the March Hare, and the Mad Hatter, as well as the fearsome Queen of Hearts. In a journey filled with riddles, chaos, and satire, Alice learns about courage, friendship, and the joy of curiosity, ultimately discovering that identity is unique and ever-changing. Audition Dates:  Saturday 29th March – Sunday 30th March 2025 Audition Time: Saturday 29th March  – Vocal Auditions from 4:30 pm (individual times assigned via email) Sunday 30th March  – Dance Call at 9:00 am, Acting Workshop at 11:00 am, Callbacks in the afternoon Audition Location and Address:  Spotlight Studios – 50 Johnston St SOUTHPORT QLD 4215 Audition Self-Tape Due (if applicable):  5:00 pm, Saturday 29th March 2025 Audition Requirements: Prepare two vocal pieces: one pop song and one musical theatre piece (max 90 seconds each). Cold reading from the script may be required. All auditionees must attend the group dance call (choreography taught on the day). Bring appropriate dance attire and a water bottle. Tap shoes encouraged. Participation in an improvisational acting workshop is required. Callbacks will include additional cold readings and potential vocal recalls. Audition Registration: Email spotlightonalice@gmail.com by 5:00 pm, Friday 28th March with your completed audition form, CV, and headshot. Video auditions will be accepted and must be submitted by 5:00 pm, Saturday 29th March (include both vocal pieces and optional dance footage if auditioning for dance-heavy roles). Audition Pack: Available Here Available Roles: Alice  (F, 16+, soprano, strong belt) White Rabbit  (Any gender, 16+, mezzo-soprano/tenor, strong belt, strong dancer, narrator role) Mad Hatter  (Any gender, 16+, strong comedic skills) Cheshire Cat  (Any gender, 16+, strong dancer, ability to tap dance) Tweedle Dee & Tweedle Dum  (Any gender, 16+, strong improvisational skills) Queen of Hearts  (Any gender, 16+, alto/baritone, strong belt, strong improvisational skills) March Hare  (Any gender, 16+, comedic role) Dormouse  (Any gender, 16+, comedic, strong improvisation encouraged) White Queen  (Any gender, 16+, soprano/mezzo-soprano, strong belt, comedic role, ensemble feature) Caterpillar  (Any gender, 16+, ensemble feature role, philosophical character) Ensemble  (Various Wonderland creatures and card ensemble, strong mix of singers and dancers, tap dancing encouraged) Performance Dates:  Season 2nd July - 12th July, 2025 Performance Times:   Performance 1 Wednesday 2nd July 10.30am Performance 2 Thursday 3rd July 10.30 and 2.00pm Performance 3 Friday 4th July 10.30 and 2.00pm Performance 4 Saturday 5th July 10.30 and 2.00pm Performance 5 Monday 7th July 10.30 am Performance 6 Tuesday 8th July 10.30 and 2.00pm Performance 7 Wednesday 9th July 10.30 and 2.00pm Performance 8 Thursday 10th July 10.30 and 2.00pm Performance 9 Friday 11th July 10.30 and 2.00pm Performance 10 Saturday 12th July 10.30 and 2.00pm Performance Location:  The Spotlight Theatrical Company, 185-187 Ashmore Rd, Benowa QLD Rehearsal Dates:  Commence Monday 7th April 6.00 pm-10pm for a meet and greet and script read through. Rehearsal Times:  Times will vary throughout the rehearsal period. Mondays From 6.30pm to 10pm Wednesdays From 8pm to 10pm Sundays – From 1pm to 7pm Required Age: 16+ Years Writer/Director/Music Director:  Ruby Tate Choreographer : Georgia Ogge Production Website: Spotlight Theatre Auditions Other Information: Successful auditionees will be notified via email by 5:00 pm, Tuesday 1st April. For inquiries, email spotlightonalice@gmail.com If successful in gaining a place in this production, you will be required to become a member of The Spotlight Theatrical Company.

Watching Credulous  felt like tumbling headfirst into a whimsical fever dream—one that somehow managed to be both laugh-out-loud fun and deeply moving. Presented by Verum Arts at the Merthyr Road Uniting Church, this original jazz musical, the brainchild of Arina Dara and playwright Phoebe Quinn, took the complicated emotions of grief and loss and spun them into something spellbindingly fantastical.   As soon as the overture began—performed by the jazz band consisting of Max Berger, Alex Wilson, Tristan Hargreaves, Kyle Neilan, and Eden Gray—I knew I was in for something special. With music by Max Berger and Alex Wilson, lyrics by Jake Brown, Ernest Corbet, Arina Dara, Mak Harris, and Alex Wilson, and direction from Arina Dara and Ernest Corbet, Credulous  delivered a completely original score wrapped in self-aware storytelling.   The story opens with Venus (Isaac Ruthenberg) and his minions concocting a mysterious potion—but something’s missing. Meanwhile, young lovers Toby (Ethan Irvine) and Aida (Maddie Martin) revel in the warmth of domestic bliss, dancing in their living room and planning a romantic getaway. And then, in a devastating instant, everything shatters. Toby’s sudden accident sends Aida spiralling into a whirlwind of grief—precisely the emotion Venus needs to complete his spell. Lured into Venus' lair, Aida is presented with a choice: accept reality or risk everything to bring Toby back. Maddie Martin delivered a profoundly emotional and grounded performance as Aida, particularly excelling in her portrayal of the shifting stages of grief. Her duet with Ethan in the ' Happy Sad Song' was moving, and her voice carried sincerity. Ethan Irvine’s portrayal of Toby was equally endearing, capturing the warmth and devotion of a man in love in every lingering moment—even when separated by death. His opening number, ' Toby's Song' , beautifully established their relationship, with Ethan’s voice embodying that classic Disney Prince quality—warm, hopeful, and completely enamoured with Aida. Their dynamic felt natural—like we were spying on a real couple's conversation, including the occasional cracks that form in communication. What made this show so compelling was its ability to balance light-hearted musical absurdity with a deeply human truths. The show invited audiences to see themselves in Aida’s journey, grappling with denial, anger, depression, and the desperate hope to rewrite fate. Maddie's portrayal of Aida’s anger stage is strikingly real, particularly in the moments where she is overwhelmed with well-meaning condolences at work while still haunted—quite literally—by Toby’s absence. This frustration and aching need for closure is beautifully woven into the fabric of the show. This brings me to Venus, the enigmatic wizard-god-sorcerer played to perfection by Isaac Ruthenberg. His impeccable voice acting and comedic timing made Venus a captivating and multifaceted antagonist. The showstopper 'Meeting Venus' was a particular highlight, exuding the seduction and mischief found in the best villain songs. While the trumpet and sax occasionally threatened to overshadow Isaac’s performance, his voice still commanded attention—smooth and intoxicating, with a jazzy vibrato in the verses and a bold, powerful delivery in the chorus. Isaac was absolutely irresistible, both in tone and presence.   The supporting characters added even more texture to this already vibrant world. Ella Dickson was a scene-stealer as Rosie, the hilariously irritating ‘cat lady’ co-worker, with her deliberately grating voice and comically dramatic reactions. Tabitha Franklin and Ella, as the Whispers—Venus' mischievous, gremlin-like minions—injected the show with zany physical comedy that kept the energy high. Spooky’s portrayal of Lydia, Aida’s mother, offered a grounded, wry counterbalance to the chaos around her. Her interactions with Isaac were among the sharpest, sweetest, and most entertaining moments in the script. In her duet with Maddie, 'The Hair is the Thing,' Lydia’s role as the grounding force became clear as she tried to prevent her daughter from spiralling too far into the bargaining stage. One of the more fascinating elements of Act Two was their interpretation of the afterlife. Venus’ explanation of Limbo—not to be confused with Purgatory—was particularly memorable, offering a creative and thought-provoking perspective on what occurs after death. This led to the 'Limbo Song' , a lively group number led by Tabitha as Cari, where Aida finds herself in a surreal, existential conversation about grief, loneliness, and purpose, all while continuously dancing. This extended sequence blended choreography (by Jasmine Muir) and dialogue in a way that kept the audience completely absorbed. And then there was the music. The jazz-infused score was absolutely stunning. 'Venus’ Ballad' was an unexpectedly moving moment—not only a showcase for Isaac’s exceptional vocals but also a revelation of Venus’ own hidden grief and motivations, shaped by the loss of his parents. The weight of his guilt, pain, and loneliness, woven into a hauntingly beautiful melody and lyrics, offers a moment of raw vulnerability that stands in stark contrast to his earlier playful bravado. ‘Aida’s Decision’  closed Act One not as a sombre lament, but as an upbeat anthem of yearning for one more day with your beloved—a bold choice that succeeded beautifully. By the time we reached the finale, 'Love’s a Guiding Light,' I found myself completely swept up in the show’s message. The reunion between Aida and Toby was genuinely heartwarming, with Ethan’s portrayal adding a layer of tenderness that made Toby’s presence feel comforting, even in its bittersweetness. The dialogue in this final conversation was so poignant, I found myself wishing I could bottle it up and carry it with me always. The production’s designer, Hollie Pianta, made choices that were simple but effective. Fairy lights shifted colours to match the mood, and the drapes and cauldron of green and purple set a mystical tone. The minimal set was adaptable to allow for transitions (albeit a bit lengthy) between the mundane and the magical. Caleb Bartlett’s lighting and sound design enhanced every moment, especially during ‘The Spell Song,’  where the lights synchronised with each potion ingredient being added—a stunning example of how simple effects, when executed well, can elevate a scene. Verum Arts, founded by QUT graduates in 2023, proves that emerging artists can craft worlds just as rich and compelling as those from seasoned theatre companies. Credulous  doesn’t merely tell us a story; it builds a world that pulses with life, pain, and wonder. This production left an imprint, not only for its originality but for the raw honesty woven into its magical narrative. It’s a show that truly deserves to be seen and celebrated.

Title:  High School Musical Jr. Presented By:  Elements Theatre Co. Genre:  Musical Theatre Synopsis: Disney Channel's smash hit movie musical comes to life on stage in Disney’s High School Musical JR.  Troy, Gabriella, and the students of East High must navigate love, friendship, and family while balancing classes and extracurricular activities. With infectious, danceable songs, this show is sure to engage performers and audiences alike. It’s the first day after winter break at East High. The Jocks, Brainiacs, Thespians, and Skater Dudes all find their cliques. Basketball team captain Troy discovers that the brainy Gabriella, a girl he met singing karaoke on his ski trip, has just enrolled at East High. Their decision to audition for the high school musical creates upheaval, challenging the "status quo" and inspiring others to step outside their comfort zones. Audition Date: Wednesday 12th March Audition Location and Address:  Elements Theatre Co., 139 Rifle Range Rd, Pimpama QLD Audition Requirements: Open to performers aged 5-18 Email info@elementstheatreco.com  to register and receive the audition pack Available Roles: Gabriella Montez (Female, A3-D5) Troy Bolton (Male, Eb2-Bb3) Sharpay Evans (Female, A3-A4) Ryan Evans (Male, G2-A3) Kelsi Nielsen (Female, D4-A4) Chad Danforth (Male, B2-G3) Zeke Baylor (Male, G2-G#3) Taylor McKessie (Female, A2-A3) Ms. Darbus (Female, Non-Singing) Coach Bolton (Male, Non-Singing) Martha Cox (Female, G3-B4) Ensemble (Jocks, Cheerleaders, Brainiacs, Thespians, Party Kids, Rebels, and featured characters) Production Website:   Elements Theatre Co Other Information:  Limited audition spots available—only 5 places left!

Title:  Broadway Up Close Presented By:  Fame Performing Arts Genre:  Musical Theatre Workshop About: Get ready to shine in Broadway Up Close , our senior musical theatre workshop! This five-day holiday programme celebrates some of the best contemporary musical theatre songs of our time. Whether you're a seasoned performer or just starting out, this workshop is designed to elevate your skills in the artistry of musical theatre. Hone your acting skills, learn killer choreography, and master your vocal technique while working towards an unforgettable performance at the end of the week. Join us for an unforgettable journey through the Broadway Up Close! Audition Dates: 15th March 2025 Audition Time:  1:30 pm – 3:30 pm Location and Address:  Arcana Brisbane, 46 Evesham St, Moorooka QLD Ages : 13-18 years Workshop Dates:  13th – 17th April 2025 Workshop Times:  9:00 am – 5:00 pm Performance:  17th April 2025 Location and Address:  Arcana Brisbane, Moorooka Workshop Fee:  $495 (includes audition day, costumes, and pizza party) Register Here:   Fame Performing Arts

Title:  Camp Oz Presented By:  Fame Performing Arts Genre:  Musical Theatre Workshop Workshop Overview: This exciting workshop invites young performers aged 6-13 to dive into the world of musical theatre through "Camp Oz," blending iconic elements of Wicked  and The Wizard of Oz . Participants will spend five action-packed days honing their performance skills under the guidance of our expert creative team, culminating in an unforgettable performance. Audition Date: Saturday 15th March 2025 Location and Address:  Arcana Brisbane, 46 Evesham St, Moorooka QLD Audition Time:  11:00 am – 1:00 pm Ages : 6-13 years Workshop Dates:  7th – 11th April 2025 Workshop Times:  9:00 am – 3:00 pm (Supervision available from 3:00 pm – 5:00 pm, for an additional fee) Performance:  Friday 11th April 2025 6pm Workshop Fee:  $495 inc GST ($25 extra for supervision from 3:00 pm – 5:00 pm) Register here : Fame Performing Arts

Title:  Theatre for Dummies: A Post-Apunkalyptic Play Presented By:  Lottie Nella Genre:  Musical Theatre Synopsis: Theatre for Dummies  is a 45-minute musical written by Lottie Nella that explores the value of art and creativity in a post-apocalyptic, kind-of-functioning society. Audition Date:  13th-15th March (in-person) Audition Location:  Visible Ink Youth Hub, Fortitude Valley Audition Self-Tape Due (if applicable):  Submissions close Midnight, 23rd March Audition Requirements: Prepare a contemporary monologue. 16-bar cut of a song. Audition Registration:  Email lottienella@outlook.com  or contact via Instagram @theatrefordummies Audition Pack:   Available here Available Roles: JACK INGOFF:  Older brother to MIKE OXLONG, 14 years old, extremely bogan with a terrible Aussie accent. Casting any age, gender, ethnicity. Tenor-adjacent. MIKE OXLONG:  Younger brother to JACK INGOFF, 12 years old, same accent as his brother, timid but goofy and playful. Casting any age, gender, ethnicity. Tenor-adjacent. THE LIBRARIAN:  Parent to JACK and MIKE, crazy and theatrical, speaking in Elizabethan, literature quotes, and random broken rhythm poetry. Casting any age, gender, ethnicity. Range to suit actor. THE BARD:  Optimistic, stubborn, curious storyteller from a town without art. Casting any age, gender, ethnicity. Range to suit actor. THE LUTE:  Silver-tongued, bored, pessimistic, former great musician turned washed up. Loves playing with the fact that people can’t see their physical body. Casting any age, gender, ethnicity. Range to suit actor. Performance Dates:  Late July / Early August (dates TBD) Performance Location:  TBD Rehearsal Dates:  Starting in April, spanning 15-16 weeks

Title:  High School Musical 2 Jr. Presented By:  Loic Valmy Broadway Academy (LVBA) Genre:  Musical Theatre Workshop About: The workshop takes kids through a fun and high-energy exploration of High School Musical 2 Jr . They will learn songs, dances, and acting techniques, with a live performance at the end of the week showcasing their talents. Audition Date:  Sunday, 23rd March, 9:00am-11:00am Audition Time:  9:00am-11:00am Audition Location and Address:  Alchemy Studios, 127 Sandgate Road, Albion Audition Requirements: Prepare a 1-2 minute cut of a musical theatre song (not from High School Musical 2 ) with a backing track. Wear comfortable clothing for the dance portion. Audition Pack:   Download the Audition Pack Performance Dates:  Friday, April 11th, 2025 Performance Times:  5:00pm & 7:00pm Performance Location:  Queensland Multicultural Centre, Kangaroo Point Rehearsal Dates:  April 7th - 11th, 2025 Rehearsal Times: Monday to Thursday: 9:00am – 4:00pm Friday: 9:00am – 8:30pm Required Age:  7-17 Creative Team: Choreographer: Ava Moschetti Director: Dana Summer Studio Director: Lee Valmy Production Website:   Loic Valmy Broadway Academy Website Other information: Workshop Fee: $395.00 Early Bird Price (until 3rd March): $350.00 Optional Extras: Cast T-shirt: Preorder for $35 (Price increases to $40 after the workshop begins) Photo/Video Package: Preorder for $25 (Price increases to $30 after the show) Available Roles: Troy Bolton: Troy Bolton is the most popular kid at East High, the star of the basketball team. He is independent, driven, athletic, yet smitten with Gabriella. Gender: Male Vocal range: G3 - G5 Gabriella Montez: Gabriella Montez is an intelligent, charming girl who is loved by everyone & except Sharpay. She is dating Troy and can't wait to spend the summer with him at Lava Springs. Gabriella is a strong, loyal character who sticks up for her beliefs. Gender: Female Vocal range: F3 - D5 Sharpay Evans: Sharpay Evans is the egocentric diva daughter of the Lava Springs owner and twin sister of Ryan. She does everything she can to get what she wants, particularly Troy Bolton. Gender: Female Vocal range: A3 - D5 Chad Danforth: Chad Danforth is a jock and Troy's best friend. He and Taylor share a special bond, but he is good friends with all the Wildcats. Gender: Male Vocal range: G3 - A5 Taylor Mckessie: Taylor McKessie is Gabriella's best friend who has started hanging out with Chad more often. She is organised, intelligent and assertive. Gender: Female Vocal range: B3 - C5 Jack Scott: Jack Scott is the school announcer who is confident and suave behind the microphone, but not so sure of himself when he isn't. Enjoy making this quirky role your own, and portray a "gift of gab" radio voice. Requires superior diction, good comic timing, and a pleasant singing voice. Gender: Male Ryan Evans: Ryan Evans is Sharpay's twin and a true star. He loves singing and dancing, and is learning to be his own person outside of Sharpay's shadow. Everything Ryan does is executed to the extreme and usually with enthusiasm. Gender: Male Vocal range: B3 - A5 Zeke Baylor: Zeke Baylor is a basketball player and good friend of Troy and Chad. His love of baking is matched only by his crush on Sharpay. Gender: Male Vocal range top: C3 - C5 Martha Cox: Martha Cox is the fun-loving, big-personality girl of the group. She loves to dance, specifically hip-hop. Need comic timing and enjoys being over-the-top. Gender: Female Vocal range: C3 - C5 Kelsi Nielsen: Kelsi Nielsen is an up-and-coming theatre composer who struggles with how to further her career. Shoots "zingers" at Sharpay with timing and accuracy. Need to look like a pianist as she "accompanies" the songs onstage. Gender: Female Vocal range: F3 - D5 Sharpettes: Sharpay's debutante gal pals. They are bubbly, excitable and will back Sharpay up in all her endeavours. The Sharpettes should be good singers and dancers who exude lots of focused energy onstage. Gender: Female Vocal range: B3 - D5 Fulton: Fulton is the efficient club manager of Lava Springs. He is overly concerned with pleasing the daughter of the country club's owner. Need excellent comic timing for this role. While he does sing with the ensemble in a few songs, his solo lines are to be spoken, so acting skills should be the priority. Gender: Male Ensemble: The Ensemble makes up the other characters who populate Lava Springs Country Club: pool boys, hairdressers, tailors, dermatologists, the Wildcats, Lava Springs employees, Waiters, etc. These roles vary in size and in vocal, acting and dance requirements. Gender: Any