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Title:   Mamma Mia Presented By:  Spotlight Theatrical Co. Genre:  Musical Synopsis: Mamma Mia!  is a lively, heartwarming musical based on the songs of ABBA. Set on a Greek island, it tells the story of Sophie Sheridan, a young woman determined to find her father before her wedding, leading to the surprise reunion of her mother, Donna, with three former lovers. With a vibrant, energetic storyline and catchy tunes, the show brings joy and nostalgia to audiences of all ages. Audition Dates: Video Submissions Close: Sunday, 30th March 2025 Singer/Dancer/Movement Callbacks: Saturday, 5th April 2025 Final Callbacks: Sunday, 6th April 2025 Audition Location and Address: Johnston Street Studios, 4/50 Johnston St, Southport Audition Requirements: Submit a video audition (maximum 30 seconds, full body, with backing track) Prepare TWO songs: one upbeat and one ballad, each showcasing vocal range (verse and chorus only) No acapella auditions accepted Must attend Dance and Movement Calls if required Audition Registration: Complete the audition form and video submission, along with CV and headshot to spotlightonmammamia@gmail.com Rehearsal Period: Costume Fittings: 7th April 2025 Rehearsals Begin: 23rd April 2025 Performance Dates: 18th July 2025 – 16th August 2025 Age: This production is open to ages 16+ only due to themes explored. Production Website: Spotlight Theatrical Co. Audition Information Other Information: Availability for rehearsals and performances is crucial. Missing more than 3 rehearsals without prior notice will render you ineligible. Available Roles: Donna Sheridan  (40-45 stage age): Strong feminist, former lead singer, must move well. (mezzo-soprano) Sophie Sheridan  (20-25 stage age): Zany spirit, determined to find romance. Must dance well. (pop soprano) Tanya  (40-45 stage age): Rich, sophisticated, funny. Must move well. (mezzo-soprano) Rosie  (40-45 stage age): Strong, confident, comic actress. Must move well. (mezzo-soprano) Sam  (40-45 stage age): Charming architect, may be Sophie’s father. Must move well. (baritone) Harry  (40-45 stage age): Wealthy financier, reconnecting with his youthful self. Must move well. (high baritone) Bill  (40-45 stage age): Travel writer, good-natured and adventurous. Must move well. (high baritone) Sky  (20s): Sophie’s fiancé, charismatic. Must dance well. (tenor) Lisa  (20-25): Energetic, kooky friend of Sophie. Must sing and dance well. (mezzo-soprano) Ali  (20-25): Impulsive friend of Sophie. Must sing and dance well. (mezzo-soprano) ENSEMBLE – All Ensemble Actors must be exceptionally strong actors/singers who dance well and are confident and adept at creating fully realised, strong, textured characters. We are seeking full range of male & female voices. Looking for all ages (16+), races, genders, shapes, and sizes. The vocal ensemble will be made up of the Understudies for principal roles. VOCAL BACKING – We are also searching for talented singers who may not have the time commitment for a full rehearsal season to take on offstage vocal backing. All voice types and ages above 16 considered.

Title:  13 The Musical Jr. Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre Synopsis: Evan Goldman is ready to turn thirteen, but life throws a curveball when his parents divorce and he relocates from New York to small-town Indiana. Struggling to fit in and plan the perfect bar mitzvah, Evan navigates the pressures of middle school friendships, first crushes, and social hierarchies. With an energetic pop-rock score by Jason Robert Brown, 13 The Musical Jr.  is a fun and heartfelt coming-of-age story. AUDITION DETAILS Audition Date:  March 22, 2025 Time:  1:00 PM – 5:00 PM Location:  Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Audition Requirements: All performers must prepare a monologue, song, and dance. Younger children may memorise a sentence or two instead of a full monologue. Auditions are required for lead, minor, featured dancer, and soloist roles. Everyone who auditions will be included in the cast. Audition Registration: Register Here Audition Pack: Download Here Audition Intensive: Date:  March 15, 2025 Time:  12:00 PM – 3:00 PM Location:  Emerge Church Upstairs Studio, 1 Coorparoo Road, Warner, QLD 4500 Cost:  $50 Participants will develop essential audition skills, including: Monologue characterisation, movement, projection, and accents Acting while singing, storytelling, and vocal technique Dance and movement preparation Personalised feedback from directors Rehearsals & Performances Rehearsal Dates:  April 7 – 11, 2025 Rehearsal Times:  Monday – Friday, 8:30 AM – 5:00 PM Performance Dates & Times: Friday, April 11, 2025  – 6:00 PM & 8:00 PM Saturday, April 12, 2025  – 2:00 PM & 4:00 PM Performance Venue: Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Ticket Costs: Adult:  $25 Student/Concession:  $20 (Tickets available soon) Production Fees: Cost:  $395 (inc. GST) Covers costumes, rights & royalties, scripts, insurance, technical & creative staff, sets, props, venue hire, and a pizza dinner & drink on the Friday performance night. Performers must register and pay before auditioning. Production Website: Brisbane Junior Theatre AVAILABLE ROLES: Evan Goldman  (Tenor) – A smart, witty, and nervous 12-year-old adjusting to a new town. Patrice  (Mezzo-Soprano) – A kind and intelligent outsider, Evan’s first friend in Indiana. Archie  (Tenor) – A funny, charismatic boy with muscular dystrophy who uses a crutch, Patrice’s best friend. Brett  (Tenor) – The most popular boy in school, confident but not the smartest. Kendra  (Mezzo-Soprano) – A pretty, kind, but somewhat naïve cheerleader. Lucy  (Mezzo-Soprano) – Kendra’s best friend, manipulative and determined to get Brett’s attention. Eddie & Malcolm  – Brett’s goofy, fun-loving best friends. Charlotte, Cassie, Molly  – Kendra’s cheerleader friends and part of Lucy’s group. Richie, Simon  – Friends of Brett and part of the popular crowd. School students, party guests, and townspeople – plenty of fun and high-energy moments for all ensemble members!

Title: The Wizard of Oz - Youth Edition Presented By:  BG Performing Arts Genre:  Musical Theatre Synopsis: Dorothy Gale is transported to the magical Land of Oz, where she embarks on a journey to the Emerald City. Along the way, she befriends a Scarecrow, a Tin Man, and a Cowardly Lion, all in search of something they believe they lack. Facing off against the Wicked Witch of the West, Dorothy learns that courage, love, and wisdom were within them all along—and that there's no place like home. AUDITION DETAILS: Audition Date:  Sunday 16th March 2025 Audition Times: Ages 6 – 12: 9:00 AM – 12:00 PM (Sign-in from 8:45 AM) Ages 13 – 18: 12:30 PM – 5:30 PM (Sign-in from 12:15 PM) Audition Location and Address: Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable):  Contact info@bgperformingarts.com for online submission options. Audition Requirements: Participants will take part in a vocal, acting, and dance session. What to Bring:  Comfortable clothing, closed-toe shoes (jazz shoes recommended but not required), a sweat towel, water, snacks. What to Prepare:  All materials will be provided on the day. Singing and acting materials can be accessed via the Dropbox link provided after registration. Off-book performances are encouraged! Audition Pack Workshop Dates:  Sunday 6th April – Friday 11th April, 2025 Workshop Times: Sunday: 9:00 AM – 5:00 PM Monday – Wednesday: 9:00 AM – 5:00 PM Thursday: 9:00 AM – 8:30 PM Friday (Performance Day): 10:00 AM – 9:30 PM Full availability required for all scheduled rehearsal times. Performances:  Friday 11th April at 2:00 PM & 7:00 PM Location and Address: Rehearsal Venue:  Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Performance Venue:  Everton Park SHS Performing Arts Centre, 668 Stafford Rd, Everton Park QLD 4053 Required Age:  6 – 18 years old Creative Team: Director:  Sam Caruana Choreographer:  Bella Gordon Music Director:  Kate Baxter Production Manager:  Tallulah Baird Production Website AVAILABLE ROLES: Dorothy Gale Scarecrow Tin Man Cowardly Lion Glinda the Good Witch Wicked Witch of the West The Wizard of Oz Aunt Em & Uncle Henry Munchkins, Winkies, Flying Monkeys, Ozians

Title:  Limelight Brisbane Presented By:  Introspect Theatre Company Inc. Genre:  Arts Showcase About:  Limelight Brisbane is a dynamic arts showcase celebrating Brisbane’s incredible talent in singing, dancing, acting, and visual arts. With a prestigious panel of industry adjudicators, this event provides invaluable professional feedback to participants, making it more than just a competition—it’s a platform for growth and artistic expression. Audience favourites will also have their say with the Judge’s and People’s Choice awards, ensuring an interactive and thrilling experience. EVENT DETAILS: Event Date & Time: Sunday, 25th May 2025 – 2:00 PM Location & Address: Deception Bay Community Hall Applications Close: 31st March 2025 Performance Categories: Acting – 6-minute dramatic performance Song – 6-minute performance set Dance – 6-minute performance set Artwork – Display in the art exhibit Application Form:   Apply Here Production Website: Introspect Theatre Co.

Title:  My Brilliant Career Presented By:  St Luke’s Theatre Society Genre:  Play (Australian Drama) Synopsis: An ensemble adaptation of Miles Franklin’s classic novel, My Brilliant Career  follows the fierce and passionate Sybylla Melvyn, a young woman determined to forge her own path despite the constraints of society. Surrounded by poets, suffragettes, family, and suitors, Sybylla’s journey is one of resilience, ambition, and defiance in a world that seeks to define her. Audition Date: Saturday 22 March 2025 Audition Time: 9:00 AM – 12:00 PM Audition Location and Address: Christ Church Hall, Yeronga, QLD Audition Requirements: Prepare a short (2-minute) monologue from an Australian play. Be prepared for cold readings from excerpts of the script (provided on the day). To register your interest or request more information, contact Director Nigel Munro Wallis at nigelmunrowallis@gmail.com . Available Roles: This is a true ensemble piece, requiring actors to morph in and out of various characters. Stella Miles Franklin  – Fierce and passionate writer and adventurer Henry Lawson  – Poet; drunk, sad, past his prime Banjo Paterson  – Poet; friendly, charming Vida Goldstein  – Suffragette and Stella’s friend; confident, inspiring Sybylla Melvyn  – 18, high-spirited, independent, intelligent Mrs Melvyn  – Former aristocrat, now struggling with poverty and a large family Dick Melvyn  – Former respectable farmer, now an alcoholic Gertie  – Sybylla’s little sister Horace  – Sybylla’s little brother Granny Bossier  – Wealthy, traditional Aunt Helen  – Sad, restrained Harry Beecham  – Wealthy, handsome, Sybylla’s love interest Frank Hawden  – Pompous, irritating Aunt Augusta  – Wealthy, loud, amusing Mrs M’Swat & Mr M’Swat  – Poor, dirty, uneducated The M’Swat children  – Poor, dirty Various Ensemble Roles:  Townspeople, Women at church, People on trains, Farmers, Bailiff, Priest, Doctors Performance Dates: Evening Performances: 7:30 PM – 6, 7, 13, 14, 20, 21 June 2025 Matinee Performances: 2:00 PM – 7, 14, 21 June 2025 Rehearsal Dates: Monday 31 March – Sunday 1 June 2025 Rehearsal Times: Mondays & Wednesdays: 6:30 PM – 9:00 PM Sundays: 3:00 PM – 6:00 PM Note:  All cast members must be current or willing to become members of St Luke’s Theatre Society. Production Website: More Information & Audition Details

Title:  Cruel Intentions: The '90s Musical Presented By:  Beenleigh Theatre Group Genre:  Jukebox Musical Synopsis: In the scandalous world of Manhattan’s elite, step-siblings Sebastian and Kathryn rule their prestigious prep school with seduction, manipulation, and control. Their latest game? A mischievous bet—can Sebastian successfully deflower the innocent Annette Hargrove, the headmaster’s daughter, without losing himself in the process? Set to a soundtrack of iconic ‘90s anthems, Cruel Intentions: The '90s Musical  is a high-stakes battle of power, passion, and deceit, where no one is safe from the fallout. Audition Dates: Saturday 22 March 2025 - Sunday 23 March 2025 Audition Times: 12:20pm - 5:00pm both days Audition Location and Address: Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Callbacks: Wednesday 26 March 2025 Audition Outcome Announcements: Friday 28 March 2025 Audition Requirements: Dance Call:  All auditionees must register for either a Beginner or Advanced Dance Call. Beginner:  Suitable for those who consider themselves movers rather than trained dancers. Advanced:  Recommended for those with previous ensemble experience or strong dance skills. If unsure, contact info@beenleightheatregroup.com for guidance. Individual Audition:  All auditionees must register for a one-on-one audition with the panel. Prepare one monologue (max. 2 minutes) in the style of the character you are auditioning for. Prepare two contrasting songs: One song from the 90s. One song in the style of the show (not from Cruel Intentions ). Each song should be 16-32 bars and no longer than 1 minute. Bring a backing track on a USB or device (no accompanist provided). Audition Registration: Register for an audition here Audition Pack: Download the audition pack here Performance Dates: Opening Night:  Friday 13 June 2025 Closing Night:  Sunday 28 June 2025 Performance Location: Crete Street Theatre, Beenleigh QLD Rehearsal Dates: Sunday 30 March - Sunday 1 June 2025 Tech/Dress Rehearsals: Sunday 1 June - Thursday 12 June 2025 Sitzprobe: Sunday 25 May 2025 Warnings: This production is considered R - Restricted. As such, those aged 17 years and under will not be permitted to audition. Required Age: 18+ Creative Team: Director:  Elodie Boal Producer:  Joshua McCann-Thomson Musical Director:  Hayley Marsh Choreographer:  Jennifer B Ashley Lighting Design:  Tony Kerr Sound Design:  Mal Boal Production Website: Beenleigh Theatre Group Auditions Available Roles: SEBASTIAN VALMONT Playing Age: 17-18 Vocal range: G3 - C6 / Tenor A wealthy, charming and manipulative young man who uses seduction as a game, never allowing himself to feel real emotions. KATHRYN MERTEUIL Playing Age: 17-18 Vocal range: G3 - D5 / Mezzo-Soprano The ultimate queen bee - intelligent, ruthless, and always in control. She wears a perfect, polished façade while secretly delighting in manipulation and destruction. ANNETTE HARGROVE Playing Age: 17-18 Vocal range: G3 - D5 / Mezzo-Soprano Sweet, idealistic, and pure-hearted, Annette believes in love and honesty, making her the perfect target for Kathryn and Sebastian’s cruel bet. CECILE CALDWELL Playing Age: 17-18 Vocal range: F3 - D5 / Mezzo-Soprano A sheltered and immature girl, Cecile is clueless about the elite world she has been thrown into. She is naïve and easily manipulated, particularly by Kathryn, who delights in corrupting her. GREG MCCONNELL Playing Age: 17-18 Vocal range: G3 - A♭5 / Tenor A privileged, handsome jock with a carefully crafted image. While he plays the role of the all-American golden boy, he hides insecurities and secrets that make him susceptible to manipulation. RONALD CLIFFORD Playing Age: 18-22 Vocal range: G3 - C#6 / Tenor Note:  This is a BIPOC Role. Talented and kind-hearted, Ronald is a music teacher who genuinely cares for Cecile. He is intelligent, refined, and passionate, but his trusting nature makes him vulnerable to Kathryn’s schemes. MRS. BUNNY CALDWELL Playing Age: 40-60 Vocal range: F3 - F5 / Mezzo-Soprano Cecile’s overprotective and controlling mother. She is determined to keep her daughter’s innocence intact, but her elitist and judgmental views blind her to what’s really going on around her. BLAINE TUTTLE Playing Age: 17-25 Vocal range: G3 - C6 / Tenor Charming, flamboyant, and mischievous, Blaine is a social butterfly with a sharp wit. He enjoys stirring the pot and has his own secrets that make him an integral player in the tangled web of deceit. ENSEMBLE Playing Age: 16+ Students, socialites, and members of the elite Manhattan prep school scene. They add to the atmosphere of wealth, excess, and scandal while supporting the lead characters in key moments. Featured dancers will also be cast.

Spotlight Theatrical Company is celebrating an impressive 70 years, and what better way to mark the occasion than with an electrifying season of Fame the Musical ? This is my first time catching a Spotlight production, and if this sold-out show is anything to go by, I’ve seriously been missing out! (Curse living in Brisbane!) Fame is a high-energy spectacle that transports us straight into the bustling halls of New York’s High School of Performing Arts. This film-turned-international sensation deals with all the ups and downs, the romances and heartbreaks, and the pursuit of your dreams as young artists. Spanning from their freshman year in 1980 to their graduation in 1984, the musical swiftly follows the journeys of several students. With an astonishing cast, beautiful production design, and some seriously impressive choreography, I found this show was a blast from beginning to end.   As you settle into your seat in the Halpin Auditorium, you're time-warped straight back to the 80s, with music from that era playing before the show even kicks off. The theatre’s setup makes the experience even better, offering tables for comfort and excellent sight-lines from every seat. The performance I attended was completely sold out, and by all accounts, the rest of the season is too—so if you managed to snag a ticket, count yourself among the fortunate! When the lights dim, the opening number "Pray/Hard Work" comes to life with a crescendo, as the entire cast—including the teachers—delivers a high-energy performance to introduce the characters and set the stage for the story. Their characterisation is strong across the board, with each performer bringing authenticity to their roles (not too difficult when they’re all triple threats themselves). You can sense that every student at the High School of Performing Arts is eager to make their mark, and so is this cast. One especially electrifying moment is when the cast charges downstage to the curved edge, passionately belting out, “When I hit the heights! Put my name in lights!”—instant chills.   Visually, this production is stunning. The scenic design (by Andrew Kassab and team) appears highly professional as a fully immersive high school aesthetic. Complete with posters and graffiti-covered walls, functional rotating lockers that double as dance studio mirrors, a staircase and a balcony level for the live band. There’s even a large painting of Pink Floyd’s Dark Side of the Moon on the wall—nice touch. The wings are cleverly concealed, with doors used for entrances and exits, making it feel as though we’re truly inside the performing arts school's courtyard and classrooms. Lighting (by Leonnie Jones, Stuart Morgan, Ariana Sinner, and team) is well-utilised, even though they apparently had some tech issues during the performance—you'd never know it. In "Pray I Make P.A.," the silhouetted students stand behind the scrim, illuminated by spotlights from above, and singing beautiful layered harmonies that were incredibly pleasing to listen to. The use of fog and red/blue lighting effectively transports us into the gritty, electric world of '80s New York. Costumes (by Stuart Morgan, Andrew Kassab, and team) fully embrace early '80s fashion—scrunchies, denim, neon. The accents are also quite notable, particularly the NYC dialects from the boys and the German teacher being especially convincing. The choreography by Dean Giltinan and Jam Marshall is explosive from the opening number chaos of "Hard Work" to the grand finale "Fame". Every move is sharp, energetic, and wholeheartedly executed (with some acro adding extra excitement). I appreciate how the choreography draws inspiration from the 80s—big, bold, and full of attitude. "Dancin' on the Sidewalk" blends jazz, hip-hop, and groovy disco moves that radiate pure joy. You can tell the cast is having a blast in this number—that's what it's all about! The opening of Act Two, "Junior Festival," features Carmen and Joe (Alannah and Andrew) commanding the spotlight with their stunning partner work and impressive lifts, while the ensemble dances in beautifully coordinated, Spanish style choreography. The nine-member band, under the direction of Matt Pearson and assisted by Ben Harris, expertly merges rock, pop, funk, post-disco, and orchestral elements to bring the score alive. Incorporating musicians playing on stage as part of the cast adds a clever touch of authenticity to the show. Sound design by Nick Willner and Caed Lawson is excellent, perfectly resonating and reverberating the vocals at all the right moments. With a total of 23 students, the vocal power in the finale numbers is immense but never overpowering. Director Stuart Morgan has assembled an exceptional cast, each actor passionately embracing their roles and always serving face. Alannah Eyerich is absolutely magnetic as Carmen Diaz, the sassy and determined triple threat desperate for stardom. With an insanely strong voice and compelling stage presence, she embodies Carmen’s fiery ambition and tragic downfall. Her powerhouse vocals soar in "There She Goes/Fame," a show-stopping double-number featuring vibrant Spanish-inspired choreography that complements her character, along with a massive neon FAME sign lowered from above. Even more impressive is Alannah's vocal control while executing the demanding choreography, especially against the strength of the live band (and a trumpet beside her!). Her final solo, "In L.A.," is gut-wrenching, revealing Carmen’s shattered dreams and hardened persona laid bare, unquestionably delivering the best vocals of the night.   Xavier O’Brien delivers a nuanced portrayal of Schlomo Metzenbaum, the reserved yet passionate pianist and songwriter. The duet "Bring on Tomorrow," performed by Xavier and Alannah, highlights his powerful tenor voice and their undeniable chemistry that adds an emotional undercurrent to the show. Brock Drinkwater as Jack Zakowski commands the stage with effortless swagger in "Jack’s Rap," infusing humour and charisma into the role of the talented yet struggling dancer. His vibrant energy electrifies the stage and he makes the choreography look like a walk in the park. But he really shines in his self-choreographed "Dancin' on the Sidewalk," where the entire ensemble delivers this joyful number in polished synchronisation. Ashley Williams (Goody King) and Shilo Kwocksun (Grace Lamb) totally rock in their roles as the loveable and eccentric band members, with Ashley showing some serious skills tooting the trumpet and Shilo energetically banging away on the drums. Plus, Shilo genuinely looks like she stepped straight out of an '80s film—I'm obsessed! Andrew Kassab as Joe Vegas is an absolute scene-stealer. His knack for comedy and playful execution in "Can’t Keep It Down," a song essentially about teenage hormones, is played with just the right amount of cheek; avoiding what could have been a cringeworthy number and instead making it a comedic highlight. Ally Jeanes-Grant, portraying student Serena Katz, delivers a stunning and heartfelt performance in her solos " Let’s Play a Love Scene " and " Think of Meryl Streep ." Her powerful belt and emotional expression make hers one of the show's most memorable voices. Ty Jordan, as Nick Piazza, brings earnest energy to the role of the serious classical actor, balancing ambition with vulnerability. His duet with Ally in " Love Scene Reprise " showcases the beautiful blend of their voices. Sophie Willmot exudes grace and poise in her portrayal of the talented yet misunderstood ballerina Iris Kelly, especially during her delicate pas de deux with Jack (Brock). Tahlia Gibson as Mabel Washington owns her moment with "Mabel’s Prayer,"  a song that, much like "Beauty School Dropout"  in Grease , might not be entirely necessary, but is performed so brilliantly that you wouldn't want it omitted. Mabel is my spirit animal; her love affair with food is both relatable and entertaining (I'm literally munching nachos as I write this review). Tahlia showcases powerhouse vocals in her solo that's far too short for my liking, and she exudes an irresistibly fun energy, the most vibrant of the entire cast! I found myself waiting for that moment to emotionally connect with a character (beyond my affection for food and the arts). That moment arrived with Rowena Orcullo Ryan as Miss Sherman, who commands the stage as the strict yet caring academic teacher. Her jaw-dropping vocal expression in "These Are My Children" creates a profoundly moving scene—being a teacher myself, I was particularly touched by her heartfelt delivery. The high note she hit was so breathtaking that I distinctly heard someone in the audience gasp, “Wow...” In the "Teacher's Argument," Rowena engages in a rapid-fire lyrical debate with Jennifer Gilbert, who plays Miss Greta Bell, reminding us that "artists are special"—gotta love a dance teacher who’s got your back! The ensemble is equally spectacular as the leads, with eye-catching energy from Jam Marshall, Luan Fitzgerald, and Harrison Salter in particular. Every cast member is engaged, expressive, and bursting with energy though, ensuring that even background moments feel purposeful. Stuart Morgan's direction guarantees that each character has their moment to shine, with smooth pacing that keeps the energy high without feeling hurried (stage managed by Kathryn Henderson, Vicky Speight, and team). The blocking ensures there are no dull moments—much like life at a performing arts school, the action never stops.   Despite being written decades ago, Fame  still resonates today—exploring the pressures and struggles faced by young artists and the exhilarating yet challenging journey of pursuing a dream. Sure, some elements feel dated, but many themes remain relevant within the current arts industry: competitiveness, egos, ambition, adrenaline, heartbreak, community, and the harsh realities of trying to make it. This production is carried by an incredibly strong ensemble, many of whom are alumni from top theatre schools—and it shows. By the time the finale rolled around, I realised I had been smiling throughout almost the entire performance; except for the more sombre moments, of course, which were beautifully acted and emotionally gripping. This production perfectly captures the heart of Fame —a whirlwind experience through four years of arts education, so be ready to keep up! Bravo to the entire cast and creative team—this is one performance that will undoubtedly “live forever” in my memory! Now playing at the Halpin Auditorium until 1st March 2025.

Title:  Too Much Influence Presented By:  Vacant Collective Genre:  Playful Drama Synopsis: As part of this year’s Anywhere Festival, Vacant Collective is presenting the inaugural performance of Too Much Influence , a playful drama exploring the blurry lines between our real and digital selves. The TMI (Too Much Influence) crew has taken the digital world by storm – four quirky, charming influencers living together and documenting their lives. But behind the cameras, reality gets messy. From a micromanaging fashionista to a resentful fitness guru, a detached gamer, and a burnt-out theatre buff, friendships are tested, romances waver, and reputations are on the line – all for The Brand. Audition Date:  Sunday, 23rd February, 2025 Audition Time:  10:00 AM – 1:00 PM Audition Location and Address:  Everton Park Library, 573 S Pine Rd, Everton Park Audition Requirements: No preparation necessary. Bring a water bottle and wear comfortable clothes suitable for movement. Available Roles: Max  (Masculine, 25-30) – A stubborn and independent fitness influencer. Charlie  (Feminine, 25-30) – A perfectionist and micromanaging fashion and beauty product reviewer. Rehearsal & Performance Details: Six 3-hour rehearsals in March. Weekly 3-hour rehearsals from May until Anywhere Festival  opens on July 18. Performances will run multiple times during Anywhere Festival  (July 18 – August 3). Audition Registration: If interested, please email vacantcollectivetheatre@gmail.com  and send a headshot and CV if available. Additional Information: This is a profit-share opportunity.

Title:  2025 Junior IMPACT Ensemble Auditions - Soul Trading Presented By:  Empire Youth Arts Genre:  Youth Theatre / Performance-Making Program Synopsis: The year is 2079. Humans are created with gene selection technology, Artificial Intelligence is part of everyday life, and children's best friends are their Learning Bots. Except for Jerry. Jerry is not like the others. Neither is Neutron Finch, an exceptionally clever Learning Bot who appears out of nowhere—smarter, funnier, and possibly illegal. When the status quo unravels, Jerry and his classmates are summoned to the oval, setting off a fast-paced, philosophical, and hilarious exploration of an impending future for young people. Audition Date & Time: Thursday, 27th February:  4:00pm - 6:00pm Saturday, 1st March:  10:00am - 12:00pm Audition Location: Empire Theatre, 56 Neil Street, Toowoomba Audition Requirements: Open to young performers aged 10-14 years Auditions will be 10-minute slots scheduled after submission of the application form Half the cast will play the roles of Learning Bots, so you will be encouraged to showcase your best robot interpretation as part of your audition! You will have just 5 minutes to share with us BOTH of the following two tasks: TASK 1: Perform one of the monologues in the audition pack. We want to see how you interpret character with your voice and body. Be brave and take risks! TASK 2: You will be asked to read a selection from scene 1 of the play with one of the panel. This scene should not be memorised and we will provide a copy of it in the room, however you should be familiar with it! The character you read will be determined in the room with the director depending on your preference. Available Roles: A unique cast of 12 young performers Audition Registration: Applications must be submitted by 3:00pm, Friday 21st February 2025 Complete application form and submit via email to youtharts@empiretheatre.com.au  or in person at The Empire Ticket Office. Audition Pack:    Download Here Performance Dates & Location: 3rd -5th July 2025 Empire Theatre, Armitage Centre Rehearsal Dates & Commitment: Weekly rehearsals begin 13th March 2025 School holiday rehearsals included—attendance is mandatory Program Fee: $495 (all-inclusive) – covers tuition, performance materials, and specialised workshops Payment required only if offered a role Required Age:  10-14 years Director:  Grace Sankey Production Website:    Empire Youth Arts Other Information: Senior IMPACT Auditions will be released later in 2025; those turning 15 in 2025 may apply for both Junior and Senior programs. For inquiries, contact: grace@empiretheatre.com.au

Title:  The Bed Party Presented By:  Javeenbah Theatre Genre:  Play, Drama Synopsis: In a disarrayed bedroom, five women navigate the complexities of their lives, from comforting a housemate after a traumatic date to celebrating new romantic possibilities. As stories unfold, the bonds between these fiercely loyal, loving, and radically honest women are tested and strengthened. With wit, warmth, and unwavering support, they tackle life’s highs and lows, proving that in the end, all you need is the comfort of friends by your side. Audition Date:  Saturday 8th March, 2025 Audition Time:  10:00 AM Audition Location and Address:  Javeenbah Theatre, Cnr Stevens & Ferry Streets, Nerang QLD Audition Requirements: All auditionees will participate in a group audition – approx. 1.5 hrs, including theatre games and cold reads of the script. The panel will consist of the production creative team and representatives from Javeenbah Theatre. Audition Registration:   Register Here Audition Pack:   Download Here Available Roles: JASMINE | Female Presenting, 18-40 Stage Age - Jasmine is fiercely loyal, loving and thoughtful. She has a playfulness that only those close to her are privy to. (Includes Same Sex Intimacy.) FINN | Female Presenting, 18-40 Stage Age - Finn is a mouthy, jaded, dyke who protects herself with her quick wit. She is pragmatic, understanding, ethical and open-minded (if a little hot under the collar). (Includes Same Sex Intimacy.) TARA | Female Presenting, 18-40 Stage Age - Is a bisexual woman experimenting with heterosexuality. Though naïve at times, Tara is smart, sarcastic and resourceful. BRI | Female Presenting, 18-40 Stage Age - Is a clever, passionate, well-read, radical lesbian feminist. She is disgruntled by conformity and the queer community’s interest in it. Bri is prone to speaking without thinking but at her core is kind, generous and really tries to accommodate ideologies that differ from hers. (Includes Same Sex Intimacy.) GEORGE | Female Presenting, 18-40 Stage Age - George is a french women cut from the same political cloth as Bri but is a little more romantic. She’s an idealist with a penchant for alternative medicines, ideas and frameworks. She’s a bit of a kook but has a rational side as well. KELLY | Female Presenting, 18-40 Stage Age - Kelly is deeply troubled by capitalism and conservatism but nonetheless enslaved by the normative narrative of motherhood. She wants to procreate and is not interested in reflexivity on this topic. Smaller Supporting Role. (Includes Same Sex Intimacy.) Performance Dates: 20th June, 2025 – 7:30 PM 21st June, 2025 – 7:30 PM 22nd June, 2025 – 2:00 PM 27th June, 2025 – 7:30 PM 28th June, 2025 – 7:30 PM 29th June, 2025 – 2:00 PM Performance Location:  Javeenbah Theatre, Cnr Stevens & Ferry Streets, Nerang QLD 4211 Rehearsal Times: Wednesdays: 7:00 PM – 10:00 PM Sundays: 1:00 PM – 6:00 PM Additional times (e.g., tech week) to be communicated by the director. Bump out will occur immediately after the final performance. Warnings:  Themes of sexual assault. Required Age:  18+ Director:  Jake Goodall Production Website: Javeenbah Theatre Other Information: All volunteers at Javeenbah Theatre must be current members. Membership Details & Application Perusal script available upon request – contact artisticdirector@javeenbah.org.au

Title: The Boys in the Band Presented By: Sunnybank Theatre Genre: Play - Drama Synopsis: Set in 1968 New York, The Boys in the Band follows a group of gay friends gathering for a birthday party in Michael’s upper eastside Manhattan apartment. As the evening unfolds, unexpected guests, unresolved tensions, and a game of "Truth" send the night spiralling out of control. The play explores themes of self-worth, internalised homophobia, and the search for acceptance, offering a candid and, at times, brutal depiction of the lives of gay men in pre-Stonewall America. Audition Date: Sunday, 23rd March Audition Time: 10:00 AM Audition Location and Address: Sunnybank Theatre, 14 Mains Rd, Sunnybank QLD Audition Requirements: Review the audition notice and download the relevant pages for your character. Scenes will be read from provided audition sides. A General American accent is required. Looking to present the play as a group of longtime friends with two interlopers. As such, the emotional shifts should be natural – sometimes subtle, sometimes quick and abrasive. All roles need to be played as very real human beings rather than caricatures. Audition Registration:   Register Here Audition Pack:   Download Here Available Roles: Michael (30s): Struggles with self-acceptance; caustic when drinking. Donald (30s): Loyal, supportive friend in therapy. Emory (30s, Hispanic): Flamboyant, unapologetic, comic relief. Hank (Early 40s): Conservative, practical, formerly married. Larry (30s): Commitment-phobe, hedonistic. Bernard (30s, African American): Intellectual, empathetic observer. Alan (30s): Michael’s straight, conservative college roommate. Cowboy (Early 20s): Naïve street hustler, childlike innocence. Harold (30s): Sarcastic, self-aware, heavy weed smoker. Note: Some characters engage in non-sexual kisses and light physical intimacy. Performance Dates: 20 June – 5 July Performance Location: Sunnybank Theatre, QLD Rehearsal Dates: TBD Warnings: Strong language Mature themes Substance use depicted Required Age: 18+ Director: Chris O'Leary Production Website: Sunnybank Theatre

Gold Coast Little Theatre has launched its milestone 75th season with a spine-chilling production of ' The Crucible' , directed by Hunter Wall and assisted by Jessica White. Walking in with only a general understanding of the infamous Salem witch trials and the hysteria that fuelled them, I had little idea what to expect. What I experienced, however, was an utterly gripping, stress-inducing, and powerful night of theatre that had me hooked from the very first scene.   Arthur Miller’s ' The Crucible ' is a beast of a play, both in its emotional weight and its sheer length—clocking in at three hours (with an interval). First performed in 1953, it draws direct inspiration from the real-life events of 1692, when an entire Puritan community descended into chaos over accusations of satanic practices. What begins with a group of teenage girls caught dancing in the woods rapidly escalates into a widespread witch hunt. Abigail Williams, fuelled by bitterness and desire after being dismissed due to her affair with John Proctor, coerces Tituba into performing a ritualistic curse on Elizabeth Proctor, John's wife. Their once-peaceful village quickly becomes a world where superstition reigns supreme, and activities like simply reading books or sewing dolls are seen as potential witchcraft. Logic is abandoned, blind faith stokes the flames, and innocent people are condemned to death. It’s a brutal and terrifying commentary on how fear can be exploited and how easily societies can be manipulated—something that, unfortunately, remains just as pertinent today.   "It was only sport in the beginning, until the whole world cried spirits” During the actual Salem witch trials, over 200 individuals were accused, 30 were convicted, and 19 were executed by hanging before the hysteria finally subsided when serious doubts emerged about the reliability of the spectral evidence used to justify many of the convictions. In the subsequent years, several accusers—primarily teenage girls—confessed to having fabricated their claims. Hunter Wall’s directorial vision emphasises this thematic weight, merging period authenticity with a modern urgency. The outcome is an enthralling, suffocating atmosphere that makes the audience feel just as trapped as the condemned. Every aspect of this production operates in haunting harmony, driven by outstanding performances, precise direction, and flawless technical execution.   Dominic Bradley delivers a phenomenal performance as John Proctor, the flawed yet righteous farmer who serves as the story’s moral centre. As one of the few voices of reason, Proctor is caught in a storm of superstition and deceit, and Bradley infuses the role with extraordinary depth. He masterfully balances Proctor's fiery temper with moments of desperate restraint as the persecution intensifies. Bradley's expressive eyes remain locked on the focal character in every scene, as if truly experiencing this frustrating situation in real time. His final scenes are a tour de force—his voice hoarse, his body weary, yet his conviction unshaken. Moments of vulnerability with his wife, his anguish upon learning of his friends' fates, and the torture he endures are performed with fervent intensity. I commend Bradley for consistently tapping into such emotionally and physically exhausting depths in every performance. Opposite him, Olivia French delivers a powerful, understated performance as Elizabeth Proctor, a woman of intelligence, unwavering loyalty, and quiet strength. Elizabeth is fundamentally a caretaker—devoted, pragmatic, and guided by her moral code. French authentically captures her stoic nature, embodying a woman who carries the burdens of betrayal, love, and survival in equal measure. Her Elizabeth is not cold but measured—her words chosen carefully, her emotions restrained, making the cracks in her composure all the more impactful when they appear. Her presence in the final prison scenes is particularly haunting, her body weakened but her spirit intact.   Angelique Giuffre is brilliant as Abigail Williams, the cunning and vengeful young girl whose falsehoods set the town ablaze. She perfectly balances manipulative charm with unhinged ambition, making her both infuriating and fascinating to watch. Giuffre’s commanding stage presence demands attention—often erupting into violent emotion, her voice slicing through the theatre with chilling conviction. The scenes in which she leads the other girls in their choreographed hysteria are particularly strong—each scream, each "possessed" movement reinforcing her grip on Salem. A key catalyst in the madness is Reverend Parris, played by Ricky Moss, who inadvertently sets off the chain of events by summoning Reverend Hale to examine his seemingly possessed daughter, Betty. The actress portraying Betty, Cadence Smith, offers an eerily convincing performance, with her contorted movements appearing both painful and surreal. Moss delivers a perfectly loathsome performance as Parris. His nervous energy, darting glances, and desperate justifications paint a man more concerned with self-preservation than truth. Although Parris is not the orchestrator of this hysteria, his cowardice and willingness to let innocent people suffer make him one of its most frustrating figures. The fact that he, of all people, is the one pushing for mercy in the final act adds a layer of tragic irony. Jolan Walker’s Reverend Hale, on the other hand, undergoes one of the play’s most striking character arcs. Initially, Hale is a determined investigator, certain that he is on a righteous mission to cleanse Salem of the Devil. But as the trials unfold, his certainty begins to crack. Walker’s performance captures this slow transformation, making Hale one of the most intriguing characters to observe as he realises the horrors he has helped unleash. John Arthars as Deputy Governor Danforth and Carey Parsons as Judge Hathorne project an intimidating presence, with their power-driven delight for the trials making them all the more terrifying. Danforth is rigid, unyielding, and blind to reason, making every scene he’s in feel like an uphill battle for justice. The more resistance he encounters, the deeper he digs his heels in, and by the end of the play I am internally screaming at him. His exchanges with Proctor crackle with tension, and his cold dismissal of any logic is enraging to witness. Together, Hathorne, Parris and Danforth represent the spectrum of misguided authority—fear, misplaced faith, and unyielding ego. Their psychological warfare is gripping to witness in Act Two, as Danforth's unwillingness to show mercy, driven by his fear of seeming weak, reveals the extent of his distorted mindset.   Mia Waldron delivers a nuanced and sympathetic performance as Mary Warren, Proctor’s wavering servant and one of the play’s most tragic figures. Torn between her conscience and her overwhelming fear, Mary’s internal struggle is written across Waldron’s face in every scene. She plays Mary’s fragile courage with sincerity, displaying glimmers of strength before crumbling under the crushing weight of intimidation. Her pivotal courtroom scene is agonising to watch, as she struggles to speak the truth, only to be overpowered by Abigail’s manipulations and the mob mentality she so desperately tried to avoid. The ensemble of girls enhances this sense of hysteria with their bizarre, synchronised movements, creating an almost supernatural effect. Their "possessed" sequences are chilling—watching them convulse, scream, and contort their bodies had the entire audience shifting in discomfort.   Craig Kocinski as Giles Corey provides a rare but much-needed touch of humour; his tenacious and endearing nature makes him a standout in every scene he appears in. When tragedy befalls his character, it is all the more devastating because of how much warmth he brought to the stage earlier on. His defiance in the face of oppression is profoundly stirring, and his tragic fate lands with full force. "More weight."  The line hits like a punch to the gut. Even with limited stage time, Isabel Laver as Tituba (Parris' Barbadian slave) leaves a lasting impression. Her emotional turmoil as she is forced into a confession she does not fully understand is gut-wrenching. Laver captures Tituba’s fear and desperation with remarkable skill, her pleading eyes and trembling voice making it impossible not to empathise with her. Her interrogation scene is a standout moment of Act One—her growing panic giving way to reluctant compliance as she realises that playing along is her best chance at survival. Act Two transforms the play into a gripping courtroom drama with the audience audibly reacting as the characters continue to dig themselves deeper into delusion. At one point, I noticed I was physically tense, shoulders hunched, barely breathing as I waited for the inevitable moment when everything crashes down. This is storytelling at its most immersive. A particularly raw and gut-wrenching moment is John Proctor’s attempt to expose Abigail, confessing his own sins in the process. The intensity of this scene is only matched by the emotionally charged finale, where Dominic Bradley and Olivia French conjure real tears, their performances elevated by a powerful musical underscore that heightens the devastation.   By the time the final moments played out, I felt utterly drained. This production is harrowing, relentless, and unforgettable. The religious themes and mass hysteria are deeply unsettling, serving as a stark reminder of how easily fear can warp justice and lead people to destroy one another in the name of righteousness. Sitting in the audience, you could feel the collective frustration—the audible gasps and sighs of exasperation one injustice after another unfolded before us. Yet, in the final moments, as Proctor makes his tragic decision, there is only silence—the type of silence that indicates a theatre wholly captivated. The dialogue flows naturally, and the direction maintains a gripping pace. Director Hunter Wall not only leads this production but also designed the set, lighting, sound, and costumes, crafting an environment that feels both authentic and suffocating. The wooden-slated stage and dim oil lamps transport the audience straight into Salem’s grim reality. Fog and plunging darkness heighten the most tense scenes. Costumes, sourced from Javeenbah Theatre and Spotlight Theatre, are layered and modest. Women wear hair wraps, while the young girls’ loose hair visually unifies them as a collective force. Accents, coached by Stuart Lumsden, are impressively consistent, with Moss and Bradley’s dialects particularly standout. The set is beautifully minimalist, evoking the stark, oppressive nature of a 17th-century Puritan village. Wooden chairs, tables, and a single bed frame make up the bulk of the staging, allowing the raw intensity of the performances to take centre stage. Adding to the atmosphere, delicate flakes—snow or ash?—drift down occasionally, an ominous visual reminder of the cold, merciless world we’re stepping into. Sound design is another triumph, operated by Jacinta Hunter. Subtle yet ever-present, it creeps beneath the surface with unsettling undertones, eerie chanting, and musical elements. Lighting, too, is stark yet striking, casting haunting shadows that deepen the sense of unease. With no microphones in use, strong projection is essential, and every actor delivers with impressive clarity—none more so than Dominic Bradley as John Proctor, whose commanding presence dominates the stage. I couldn't have wished for a better introduction to ' The Crucible ' (I know I'm late to the party). Each lead performance crackles with intensity, every design choice deepens the immersion, and the direction ensures that every scene hits with full force. Despite its length, ' The Crucible ' remains one of the most captivating productions I've seen in recent memory. Yes, the final stretch drags a bit, but this production pulls you in and refuses to let go. Just a piece of advice: familiarise yourself with the play beforehand if you're not acquainted with it. Take note of the trigger warnings. And brace yourself—because ' The Crucible ' is not just a play. It's an experience. Now playing until 22nd February: Tickets available here