Title: Heathers: The Musical (Teen Edition) Presented By: BG Performing Arts Genre: Dark Comedy / Musical Theatre Synopsis: Heathers: The Musical (Teen Edition) is a darkly funny, high-energy rock musical about teenage power, popularity, and the dangers of fitting in. Veronica Sawyer is a smart, misunderstood teen who finds herself pulled into the world of the beautiful but cruel Heathers—the most popular girls at Westerberg High. When she falls for the mysterious new kid J.D., her life spirals into chaos and revenge. This teen-adapted version captures the bold spirit of the cult classic while addressing themes of bullying, self-worth, and peer pressure with sensitivity and humour. Audition Date: Sunday 14 December 2025 Audition Time: 12:30pm – 5:30pm Audition Location and Address: BG Performing Arts Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video submissions available — email info@bgperformingarts.com Audition Requirements: Auditions are required for those seeking lead, featured, or soloist roles. Ensemble performers are encouraged to attend auditions. All music and choreography will be taught on the day. Familiarise yourself with the singing and acting materials in the Dropbox link Audition Registration: Complete the Audition Registration Form before attending. Registrants must pay the workshop fee prior to audition day. Audition Pack: Download Audition Pack via Dropbox Performance Dates: Saturday 24 January 2026 Performance Times: 2:30pm & 7:30pm Performance Location: Everton Park SHS Performing Arts Centre, 668 Stafford Road, Everton Park QLD 4053 Rehearsal Dates: Monday 19 – Friday 23 January 2026 Rehearsal Times: Mon–Thu: 9:00am–5:00pm (Bowen Hills Studio) Fri: 9:00am–8:30pm (Everton Park SHS) Warnings: Mature content – references to bullying, mental health struggles, mild violence, and mild sexual themes. Parental guidance recommended. Performer Age: 13+ Creative Team: Director: Sam Caruana Musical Director: Kate Baxter Choreographer: Bella Gordon Production Website: bgperformingarts.com/audition-information-heathers-2025 Contact: info@bgperformingarts.com Other Information: Cost: $400 (covers rights, royalties, staff, set, props, and venue hire). Additional costume hire fee may apply. All participants must be available for the full rehearsal period. Available Roles/Character Breakdown: Veronica Sawyer – Smart, witty teen navigating friendship, love, and morality. J.D. (Jason Dean) – Charming, damaged new kid with a dark streak. Heather Chandler – The ruthless, magnetic leader of the Heathers. Heather McNamara – Sweet but naive follower who hides insecurity. Heather Duke – Ambitious and resentful, waiting for her turn to rule. Martha Dunnstock – Kind, optimistic, bullied student with a huge heart. Ram Sweeney & Kurt Kelly – Popular football players, arrogant and comedic. Ms Fleming – Overzealous teacher seeking attention and purpose. Parents & Teachers Ensemble – Adults navigating chaos with misguided wisdom. Students Ensemble – High schoolers, partygoers, and background characters.

Title: Shrek KIDS Presented By: BG Performing Arts Genre: Musical Theatre / Family Synopsis: Based on the DreamWorks film and Broadway hit, Shrek KIDS brings everyone’s favourite green ogre to the stage in a heartwarming, hilarious adventure. When Shrek’s swamp is overrun by fairytale misfits, he sets off with Donkey to confront the villainous Lord Farquaad and rescue Princess Fiona. Along the way, the unlikely heroes discover that true beauty comes from within — and that even ogres can find their happily ever after! Audition Date: Sunday 14 December 2025 Audition Time: 9:00am – 12:00pm (sign-in from 8:45am) Audition Location and Address: BGPA Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video submissions accepted for those unable to attend in person (email info@bgperformingarts.com). Audition Requirements: Try-outs are required for all performers wishing to be considered for lead or featured roles. All singing, dance, and acting components will be taught on the day. Performers may prepare one monologue from the Try-Out Pack (Shrek, Fiona, Donkey, Pinocchio, or Farquaad). Jazz shoes recommended but not essential. Audition Registration: Complete the online registration form prior to audition day. A performer will not be able to audition without registering and paying the participation fee. Audition Pack: All monologues, materials, and music are available via Dropbox Performance Dates: Saturday 17 January 2026 Performance Times: 2:00pm & 5:00pm Performance Location: Everton Park SHS Performing Arts Centre, 668 Stafford Rd, Everton Park QLD 4053 Rehearsal Dates: Monday 12 January – Thursday 15 January 2026 (Bowen Hills Studio) Friday 16 January 2026 (Everton Park SHS) Rehearsal Times: 9:00am–3:30pm (Mon–Thu) / 9:00am–5:30pm (Fri) / 10:00am–7:00pm (Sat – performance day) Performer Age: 6–12 years Creative Team: Director/Choreographer: Bella Gordon Musical Director: Kate Baxter Associate Director: Zander Hutson Production Website: www.bgperformingarts.com/audition-information-shrek-the-musical info@bgperformingarts.com Other Information: Cost: $400 (includes rights, royalties, staff, set, props, and venue hire). Additional costume hire fee may apply. Participants must be fully available for all rehearsals and performances. Available Roles/Character Breakdown: Shrek – The big-hearted ogre with a roar and a heart of gold. Fiona – The feisty, funny princess with a secret. Donkey – Shrek’s loyal, talkative sidekick. Lord Farquaad – The tiny villain with huge ambitions. Dragon – A fiery guardian with a big voice and even bigger personality. Pinocchio, Big Bad Wolf, Fairy Godmother, Gingy, Three Little Pigs, Wicked Witch, Peter Pan, The Three Bears, Fairy-Tale Creatures, and Ensemble

Title:   Grease: Young@Part Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre / Comedy Synopsis: Welcome to Rydell High, where the 1950s rock and roll spirit is alive and well! Join Sandy, Danny, and the gang in Grease: Young@Part  — a youth-friendly adaptation of the iconic musical featuring all the fun, energy, and hit songs you know and love. With numbers like “We Go Together,” “Summer Nights,” and “Greased Lightning,” this show celebrates teenage friendship, identity, and finding your voice. Audition Date:  Saturday 29 November 2025 Audition Time:  1:00pm – 5:00pm Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Prepare a monologue from the Grease  audition pack. Learn the required song from the provided YouTube link. Dance choreography will be taught on the day. Audition Registration: Book via SMS to 0438 896 436 (Debbie) and email your completed registration form to brisbanejuniortheatre@gmail.com Audition Pack: Download Monologue & Song Packs Performance Dates:  19–20 December 2025 Performance Location:  Emerge Church, 1 Coorparoo Road, Warner Rehearsal Dates:  15–19 December 2025 Rehearsal Times:  9:00am–3:00pm daily Performer Age:  13+ Production Website:   brisbanejuniortheatre.com.au Other Information: Fee: $425 (includes costumes, scripts, insurance, staff, and pizza dinner) Everyone who auditions will be included in the cast. Optional production T-shirt available for purchase. Available Roles: Danny Zuko – charming leader of the Burger Palace Boys Sandy Dumbrowski – sweet and spirited new girl Rizzo – confident, sharp-tongued leader of the Pink Ladies Kenickie – tough but loyal friend Frenchy – beauty school hopeful Marty – flirty and fun Pink Lady Jan – bubbly and funny Pink Lady Doody, Roger, Sonny – Danny’s sidekicks Patty Simcox – perky cheerleader Eugene – awkward classmate Teen Angel, Miss Lynch, Cha-Cha, and ensemble roles

Title:  Disney’s The Aristocats KIDS Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre / Family Synopsis: Based on the beloved Disney animated film, The Aristocats KIDS  tells the story of Duchess and her kittens, who are kidnapped by their greedy butler and left stranded far from home. With the help of the charming alley cat Thomas O’Malley and his jazzy friends, they set out on a heartwarming adventure back to Paris. Filled with laughter, music, and friendship, this “purr-fectly” delightful show features toe-tapping favourites like “Ev’rybody Wants to Be a Cat.” Audition Date:  Saturday 29 November 2025 Audition Time:  1:00pm – 5:00pm Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Prepare a monologue from the Aristocats KIDS  monologue pack (younger children may memorise a few lines). Learn the required song listed on your monologue sheet. Dance choreography will be taught on the day. Audition Registration: Book via SMS to 0438 896 436 (Debbie) and email your completed registration form to brisbanejuniortheatre@gmail.com Audition Pack: Download Monologue & Song Packs Performance Dates:  19–20 December 2025 Performance Location:  Emerge Church, 1 Coorparoo Road, Warner Rehearsal Dates:  15–19 December 2025 Rehearsal Times:  9:00am–3:00pm daily Performer Age:  5–12 years Production Website:   brisbanejuniortheatre.com.au Other Information: Fee: $425 (includes costumes, scripts, insurance, staff, and pizza dinner) Everyone who auditions is included in the cast. Optional production T-shirt available for purchase. Available Roles: Duchess – elegant mother cat Thomas O’Malley – street-smart alley cat Marie, Berlioz, Toulouse – Duchess’s playful kittens Edgar – scheming butler Roquefort – loyal mouse friend Scat Cat & Alley Cats – jazzy musicians Madame – kind owner of the cats Geese Sisters, Dogs, and other Parisian animals

Title:   EPIC: Love Stories – A Valentine’s Cabaret Presented By:  Vox Theatre Arts Genre:  Cabaret / Musical Theatre / Burlesque Synopsis: Step into an evening of passion, laughter, and romance as Vox Theatre Arts presents EPIC: Love Stories  — the first in their new cabaret series, Love Written in the Stars . This dazzling Valentine’s showcase brings together sixteen duos and ensemble numbers that celebrate love in all its forms — from the comedic to the sensual, the classic to the modern. Expect dynamic performances, hilarious chemistry, powerful vocals, and sultry choreography as performers embody some of the most iconic couples ever seen on stage and screen — from Romeo & Juliet  to Rose & Jack . Video Auditions Due:  Sunday 9 November 2025, 5:00pm Callbacks & Offers:  Monday 10 November 2025 Audition Location: Online submission (via Google Form below) Audition Requirements: Vocalists: Prepare two contrasting love songs (approx. 1 minute each) showing range, humour, and storytelling ability Acceptable styles: Contemporary Musical Theatre, Jazz, or Popular Music Submit via YouTube or Google Drive link Dancers / Movers: Choose either “Mover” or “Dancer” category Learn the relevant audition choreography: Dance Audition Folder Film and upload your routine via YouTube or Google Drive link Submit your audition via form: EPIC: Love Stories Audition Form Headshot (for socials/program) Artist résumé (PDF or Word, max 10MB) Known scheduling conflicts Blue Card status Audition Pack: EPIC: Love Stories Audition Pack (PDF) Rehearsal Dates: First Rehearsal:  Sunday 16 November 2025 Regular Schedule:  Tuesdays, Thursdays & Sundays Photo/Media Day:  Sunday 23 November 2025 Christmas Break:  8 December 2025 – 10 January 2026 Rehearsals Resume:  Sunday 11 January 2026 Tech Week:  9–12 February 2026 Performance Dates: Friday 13 February 2026 and Saturday 14 February 2026 Warnings: Contains adult themes, sexual references, intimacy choreography, and potential mild nudity. Performer Age:  18+ Creative Team: Director:  Rhona Bechaz – Artistic Director of Vox Theatre Arts Choreographer:  Tayla Simpson Production Website:   voxtheatrearts.com Email:   info@voxtheatrearts.com Other Information: This is an amateur, volunteer-based production Vox membership fee for 2026: $25 (due by first rehearsal) All performers must consent to Vox’s media and promotional policies The team encourages performers of all genders, abilities, and backgrounds to apply Rehearsal absences or tardiness may result in recasting Available Roles: MC (Character / Host):  Charismatic, comedic storyteller connecting the evening’s love stories Vocalists:  Dynamic singers comfortable with humour, character, and emotional storytelling Dancers:  Confident performers in cabaret or burlesque-inspired choreography Movers:  Performers with basic movement skills and strong character energy Ensemble:  Flexible performers appearing across multiple duos and group numbers

A Night With The Villains Presented by Mira Ball Productions Directed by Elodie Boal Choreography by Jennifer B Ashley Music Direction by Rae Rose Costume Design by Jackie Frederickson Makeup & Hair by Rosie Humphreys Technical Design by Tony Kerr Sound Design by Jono Harrison, Mal Boal Photography by B’rit Creative In its third season, Mira Ball Productions' A Night With The Villains  returns with a brand new batch of theatre’s most dastardly icons, luring us into an immersive cabaret where the baddies rule the stage (and occasionally your personal space). The villains roam, mingle, scare, flirt, and taunt, and if you are wearing a glowstick, you are fair game; a thoughtful touch that invites the audience to opt in or out of the interaction. The night wastes no time sinking its claws in. “ Spooky Villain Hell Dream ” erupts onto the stage with Jennifer B Ashley’s  jagged, stylised choreography. Our host for the evening, Hades (Jett Sansom ), is the sassy blue queen from Hercules , who relishes every blackout opportunityto terrify unsuspecting audience members. His improvised moments are some of the night’s most entertaining, though by the end there were clear signs of Jett's voice working overtime, oof! Chelsea Guard as Beetlejuice's Lydia delivers “ Dead Mom ” with beautifully controlled vocals and emotional clarity. Later, her duet of “ Bring Me to Life”  (complete with Hades fanning her to dramatically blow her hair) cements her status as the ultimate emo queen of the underworld. Cinderella's Stepsisters, played by Aimee Duroux and Lucy Ross, are a standout pairing. “Stepsisters' Lament ” is packed with brilliant blocking and character choices, leaning into the slapstick and vanity of the roles. They commit fully to every grotesque nuance, and their eventual audience-voted win to lead “ Thriller ” — entirely in character — was the perfect cherry on top. Reagan Warner as Agatha Trunchbull from Matilda barrels onto the stage with absolute authority. “ Smell of Rebellion ” is delivered with a booming presence and strong physical commitment, leaning into the exaggerated brutality with natural comedy. Later, “ Wrecking Ball ” turns into a full audience event, with beach balls bouncing through the crowd! Eleanor Grieve as Yzma is an absolute feast visually, from the silhouette to the towering lashes and meticulously detailed makeup (so much so that I didn't recognise her!). Her “ Snuff Out the Light ” is one of the more atmospheric moments of the night due to handheld lighting tricks. She leans into Yzma’s signature physicality with precision, holding shapes and angles that feel almost animated. In “ Hell Block Tango ,” her vocal character work shines, with rewritten dialogue tailored to each villain (Yzma, Stacee, Queen of Hearts, Farquaad, Maleficent, and Trunchbull). “and we run out of spinach puffs so I go to get some…” Kennedy Foley’s Queen of Hearts is genuinely nuts! From the moment she steps into that wash of red light for “ Off With Their Heads, ” there’s a real sense of danger, like she could turn on you at any second. It is not just costume and makeup doing the work either, though both are excellent! It is the way she holds herself with controlled physicality and sudden bursts of intensity. Vocally, she is completely solid and assured, creating one of the evening’s most cohesive character portrayals. Leo Mylonas as Claude Frollo (from Hunchback of Notre-Dame ) delivers “ Hellfire ” with articulate intensity, supported by ensemble vocals that build the drama perfectly. His later club-style interpretation of “ Unholy ” leans into a darker (S&M-inspired) aesthetic; a striking tonal shift that keeps the show completely unpredictable. Beau Wykes as Sweeney Todd and Ally Hickey as Mrs. Lovett settle into their dynamic with ease, creating a partnership that is both playful and unhinged. In “ Sugar ,” they bounce off each other beautifully. Even as the show moves through different styles and energy levels, they stay completely present in their characters, which helps anchor some of the darker material. Jaya as Stacee Jaxx (from Rock of Ages ) knows exactly what show they’re in. “ Dead or Alive ” (with the Stepsisters as groupies) is cheeky and high-energy, but “ Sexyback ” is where they truly take off. It becomes less of a number and more of an experience, with stripping, guitar picks flying into the audience, and fully feeding off audience adoration. There was at least one visibly flustered front-row lady! Ruby Thompson as Velma Kelly and Kelsey Todd as Roxie Hart slip into that iconic duo so naturally. They are incredibly strong dancers, vocally matched, and completely alluring in “My Own Best Friend.” Their Gatsby-inspired “A Little Party” kicks things up a notch with stamina and sass. Ruby especially feels right at home as Velma. I would absolutely love to see her take on the role in a full production of Chicago. Ashleigh Mitchell’s Maleficent commands in green, particularly during the haunting re-imagining of “ Once Upon a Dream,”  which carries a distinct Green Fairy energy. She sends us home with a bold, dance-heavy " I'm Horny " proving she is more than just a looming presence — she can move! And I can't forget Peter Wood as Lord Farquaad from Shrek . He has a smirk for days and fully delivers that gloriously vile little wimp energy that makes the character so entertaining to watch. Plus, his pairing with Kennedy Foley in the tango-inspired “Bad Romance”  is one of the standout choreographic moments of the whole show. One of the joys of this production is seeing so many familiar villains in one place, spanning musical theatre and the Disney sphere. The adapted “ Ex-Wives ” is a high-energy reset, and “ Sisters Are Doing It For Themselves ” slayed with everyone's wildly impractical shoes. Under the direction of Elodie Boal  and Rae Rose , the energy stays consistently high, with a playlist that covers musical theatre staples and pop anthems. Transitions between acts are generally smooth, though I would love to see even more improvisation and spontaneous audience interaction in these moments to elevate the format further. Jackie Frederickson’s  costumes and Rosie Humphreys’  makeup and hair are some of the strongest in the community right now, creating bold, recognisable looks for each character — particularly for Queen of Hearts, Yzma, and Hades. Tony Kerr’s  technical design, paired with sound by Jono Harrison  and Mal Boal, supports the fast-paced structure effectively. Lighting choices enhance key numbers (especially the red wash for Queen of Hearts and the green-hued Maleficent moments), while choreography frequently surprises (I spotted those Camp Rock 2 references Jen!) A Night With The Villains  thrives on commitment and every single performer commits wholeheartedly to character, tone, and camp. For fans of musical theatre, Disney villains, and immersive cabaret chaos, it’s a wickedly entertaining night out.

Presented by : Hanson Creative at BackDock Arts, Fortitude Valley Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the novel by Rick Riordan “Out there in the real world, that’s where the real monsters are” (…but thank god for musicals, right?!). Hanson Creative’s one-weekend run of The Lightning Thief  packed a thunderbolt’s worth of enthusiasm into the tiniest of spaces. A five-piece live band shared the stage, demigods swung swords within arm’s reach, and audience members ducked stray toilet paper (you had to be there). If you thought your high-school years were wild, try surviving algebra and  monsters. That’s the world of The Lightning Thief , a favourite for youth theatre companies. This plucky new crew at Hanson Creative hurled themselves into the full version with high-octane enthusiasm. With a band squeezed beside a set barely big enough to fit a trident, it was the theatrical equivalent of a can of red bull! For anyone not fluent in Percy Jackson lore (oops, guilty), the story can feel like being tossed into Mount Olympus without a map. Luckily, Percy is just as clueless. He's an irregular kid who learns he’s the son of Poseidon, sent to a camp for demigods, and accused of stealing Zeus’s lightning bolt. So now, he and his friends Grover and Annabeth are off on a hero's quest to the Underworld to clear his name and save his mom. Talk about family drama! Right from the opening number, the stage was electric (pun absolutely intended). Kyle Armstrong embodied Percy Jackson — youthful, cheeky, and entirely convincing as the reluctant hero. The only hiccup? In real life, Kyle seemed just a tad too cool ha! His big number “Good Kid”  soared (even when his mic didn’t), showing off a rich belt, crisp articulation, and emotional honesty that anchored the show. Aimee Sheather’s take on Annabeth was smart, self-assured, and relatable. She captured that fierce daughter-of-Athena energy, and her performance of “My Grand Plan”  was heartfelt and optimistic, even when she seemed a bit nervous. Extra credit for the clever sword sheath built into her shorts — both practical and perfectly in character. Elton Jun’s Grover was the crowd's sweetheart: the cheerful and loyal satyr (a boy with goat legs and horns), overflowing with charm and cuteness. Even when his microphone misbehaved, his warmth carried every moment. His lead in “Drive”  was a highlight — upbeat, funny, and just the pep Act Two needed. He's certainly the type of friend you'd want by your side on a monster-slaying road trip. Ruby Gleeson proved herself the ensemble MVP, morphing from a shrieking Fury, to the swaggering Clarisse, to the hilariously unbothered Aussie receptionist Charon of the underworld. Her “Put You in Your Place”  was fiercely fun, and “D.O.A.”  was a meet-and-greet with the afterlife's VIPs featuring Mozart, Janis Joplin, and Kurt Cobain. Mia Lierich brought gentle warmth in the role of Percy’s mother, Sally Jackson, serenading us with the beautiful ballad “Strong” with sincerity and a lovely vocal tone. Later, she did a complete 180, channeling her inner snake lady as Medusa during “Lost!” Anna Ryan, who also choreographed, was a total chameleon. She stepped in late as the grumpy Mr. Dionysus and made the role her own, to the point where I didn't recognise her at first! Even if the vocal range in "Another Terrible Day" sat a bit low for her natural tone, her commitment sold it. Later, she returned as Thalia in the haunting “Tree on the Hill” and danced like nobody was watching, as Elton sang in one of the most unexpectedly touching moments. Anna's group choreography throughout was crisp and fun, using the small space to its fullest potential. Reid McWha pulled off a juggling act with Mr. Brunner and Chiron, complete with a tail (thanks to a ponytail wig) that transformed him into a centaur; a guaranteed laugh every time he trotted by. Henry Dollar delivered a beautifully sung performance as Luke while strumming “The Campfire Song”  on guitar, only to later surprise us with a fiery cameo as Ares. Thomas Sinclair rounded out the ensemble with boundless energy and some scene-stealing comedic antics. And Poseidon, rocking a Hawaiian shirt and a laid-back LA surfer vibe, had me obnoxiously cackling (“The god of drama , am I right?” he quipped about Zeus). Director Emma Hanson led a five-piece band through Rob Rokicki’s notoriously tricky score. On the night I attended, she conducted beside the keyboard for visibility, meaning the cast couldn’t actually see her — but you’d never have known because they stayed tight throughout. Plus, I don’t know the score well enough to know any different! Yes, there were a few moments where instruments or vocals got a little lost in the mix, but given the live setup and limited space, who can blame them? BackDock’s intimate setting is both a blessing and a curse. The sound was powerful (at times too powerful that I half-considered earplugs during the group vocals), but the proximity also meant we caught every expression. When mics failed, the performers carried just fine. Visually, the production was resourceful. Minimal set, maximum imagination, and an especially cool lighting effect lit up the trident reveal. Was it confusing at times for the uninitiated? Sure. Was it ambitious, chaotic, and gloriously scrappy? Absolutely. The Lightning Thief  felt like a Starkid show colliding with a Greek myth. Like Percy himself, this cast faced difficult odds, dodged a few technical monsters, and still came out heroes.

Presented by:  Queensland College of Dance Venue:  La Boite Theatre Directors:  Tim Hill & Jacqui Devereux Musical Director:  Ben Murray Choreography:  Tess Hill Assistant Choreographer:  Lauren Bensted Costume, Makeup & Wigs:  Lucia Umpierrez, Megan Cattel & Eulla Cadoo Dagley Set & Props:  Tamsyn Doyle & Lily Davis Steer Book by  Fred Ebb & Bob Fosse | Music by  John Kander | Lyrics by  Fred Ebb   Few musicals are as instantly recognisable or as intimidating to stage as Chicago.  Set in the glitzy, gin-soaked 1920s, it tells the story of Roxie Hart, a wannabe vaudeville star who shoots her lover and finds fame for all the wrong reasons. In prison she meets nightclub sensation Velma Kelly, already notorious for killing her husband and sister, and the two compete for the spotlight under the silver-tongued showmanship of lawyer Billy Flynn. It is a cynical, sexy satire of fame, justice, and the line between murder and marketing — and after fifty years on stage, it is still as sharp as a stiletto! Under the direction of Tim Hill and Jacqui Devereux , Queensland College of Dance delivered a fresh, fast-paced and fabulously polished production that captured the show’s signature style and bite. Rather than reinventing the wheel (or the garter), Hill focused on what makes Chicago  timeless: razor-sharp choreography, tongue-in-cheek humour and a pace that never lets up. Performing in the round at La Boite Theatre was an inspired choice — in fact, I’d argue it’s the only way to stage Chicago . The raised centre platform allowed the action to unfold from every angle, while the cast made excellent use of the aisles (there are no wings in this venue, after all, so they made the space part of the spectacle). The twelve-piece orchestra, led by Ben Murray , occupied the rear of the stage like a jazz-age powerhouse. The brass section in particular was outstanding, and the sound balance through the microphones remained clear throughout. The pre-show set the mood perfectly, with the ensemble slinking into the space as the audience settled, welcoming us into their smoky jazz club world. Each performer made their own acting choices, so my eyes were darting around trying to take it all in. Then, with a crisp “five, six, seven, eight,” the band struck up that iconic overture and the night took off. All That Jazz  was sultry, precise and bursting with ensemble energy. The vocals blended into a lush wave of sound, never overcrowding the mix. The dancers captured that delicious restraint that defines Fosse: clean lines, controlled movement and a slow burn of sensuality. Tess Hill’s choreography was tight, stylish and consistently well executed, particularly in Cell Block Tango,  where the red lighting, storytelling and full-cast power hit like a freight train during the final chorus. Demi-Ann Klocek  was sensational as Velma Kelly, a bona fide triple threat who strutted across the stage with the confidence of someone who knows exactly where every spotlight will hit. Her big solo I Can’t Do It Alone  was part vaudeville, part cardio marathon, showcasing her jazz, tap, and acro skills without a hint of breathlessness by the end (if it were me, I’d have been flat on the floor by verse two!). Bella Cox  infused Roxie Hart with feisty, cunning allure, playing her as a short-tempered firecracker with a dazzling smile and a knack for manipulation. Her acting felt honest and instinctive, and her comedy was spot-on. While her lower range occasionally disappeared beneath the orchestra, her bright upper register more than made up for it. My Baby and Me  was a sparkling highlight, complete with her perfectly synchronised dancers, and she delivered her solo Roxie  with devilishly shameless sass. Claudia Heffer’s Billy Flynn was all charm and cheek with just the right hint of smarm — the kind of lawyer who could talk their way out of anything. She oozed confidence from her first entrance, tap dancing with flair and singing with a rich, confident tone. I loved the speed and precision of her delivery, especially in Both Reached for the Gun,  where her nasal “ventriloquist dummy” tone was spot-on. The dancers in All I Care About  were a vision, trotting around her like glamorous showgirl peacocks, feathers fluttering in perfect formation. While the song could have used a little more punch in the final high notes, Claudia made a dazzling vocal comeback in Razzle Dazzle,  bathing the courtroom in sequins, feathers, and pure Broadway bravado. With all its tricks, sparkle, and swagger, it was one of the show’s most spectacularly staged sequences. Luka Kovac  oozed authority and surprising warmth as Matron “Mama” Morton. When You’re Good to Mama  sat a little low for her range, but she still radiated confidence, and belted the roof off when required. Laine Devoy  was ideal casting as Amos Hart; his Mister Cellophane  was heartfelt and beautifully delivered, a professional-level performance that earned genuine empathy. Scarlet Yadlosky  as Mary Sunshine  was a riot: operatic, unhinged and unafraid of looking ridiculous (and I mean that as high praise). The Merry Murderesses — Kiyah Bourke, Georgia McNamara, Rhiannon Baird, Kate Hollis and Jess Wardle — were dynamite. Cell Block Tango  was electric with the blood-red lighting, precision movement and whipcrack fire on every “he had it coming!” Visually, this production was stunning. The lighting design captured every mood: sultry reds for the murderesses, cool blues for the prison scenes, and golds for the vaudeville glamour. The costume team, led by Lucia Umpierrez, Megan Cattel and Eulla Cadoo Dagley , nailed the black-lingerie aesthetic with sheer fabrics and sharp tailoring. I loved the varied textures, bold red lips, and perfectly secured wigs (always a win). A few small tweaks could have elevated the lead costumes even further: a flapper silhouette or detailed bodysuit for Velma would have complemented her athletic, star-quality style more than the bare black, and a slip or chemise might have saved Roxie from those constant mid-scene adjustments to pull the dress down and fix the sleeves. Minor notes for comfort rather than critique. The set by Tamsyn Doyle and Lily Davis Steer was smart and functional, with the raised centre platform giving height and shape to the action. Props were minimal and purposeful, enough to tell the story without cluttering the stage. The trial scene was a triumph of direction and blocking: snappy, witty and bursting with tongue-in-cheek absurdity (“Blah blah blah truth truth truth so help you God? I do.”). Class  was a smoky delight between Demi-Ann and Luka, My Own Best Friend  showcased lovely vocal chemistry between Bella and Demi-Ann, and the Nowadays  finale framed the pair beautifully. I also adored the ensemble costumes for this number. Then came Hot Honey Rag.  The band absolutely slayed it, and the choreography for the girls was perfection — a glitzy exclamation mark on an already impressive show! It might be a little risqué for a student showcase, but a brilliant choice to highlight such a large, talented ensemble. The production was bold, charming, and executed with absolute professionalism. Every performer gave their all. They managed to bottle the razzle, the dazzle, and the heart, and I left the theatre muttering, “My exit music, please!”

Heathers the Musical Beenleigh Theatre Group Director:  Blake Russell Musical Director:  Julie Whiting Choreographer:  Holly Leeson “Hey kids, make your teachers cry! Get the respect you didn’t get in life.” Sitting front row at Heathers means you are close enough to feel personally judged. The sold-out house was loving every second, caught between giggles and blushing (particularly during 'Dead Girl Walking '), and maybe just a tad traumatised, with nowhere to hide from the teenage drama playing out just metres away. Beenleigh Theatre Group leaned right into the dark comedy of this musical and had the audience eating out of the palm of their hand. The trigger warnings at the start were extensive and hilarious, setting the tone immediately. Beneath the croquet mallets, slushies and shoulder pads, this production understood what Heathers is about: the suffocating pressure of teenage hierarchy, the price of fitting in, and that delicate line between invisibility and infamy. With music and lyrics by Laurence O’Keefe and Kevin Murphy, based on the 1988 film, the story follows Veronica Sawyer as she scales the treacherous slopes of Westerberg High’s social mountain, only to realise the peak comes with dangerous consequences. The multi-level set by Tahnya Bella, Blake Russell, and Glen Heriot , framed by brightly coloured lockers, created a fun, flexible playground for all the chaos of Westerberg High. Scenes flowed easily with simple moveable pieces, and the design never overcomplicated the stage picture. Lighting by Chris Art and Tom O’Driscoll made great use of strong colour washes to support the tone, and the disco ball moment for ' Seventeen' added a full prom-style shift. And the addition of slinkies bouncing down from the ceiling during ' Big Fun ' were the cherry on top. Costumes by Sam McLaughlin and Maddison Joyce knocked it out of the park. The shoulder pads were non-negotiable, the colour blocking popped, and Heather Duke’s transformation moment was especially satisfying. The ensemble outfits were a love letter to the 80s, embracing every stereotype like it was going out of style (oh wait, it did!). As for the wigs by Taylor Atly , they were definitely aiming for the iconic film looks. But while the intention was clear, there were moments where the wigs felt a little distracting, particularly when some performers’ natural hair would have worked perfectly well. Musically, the show was expertly guided by Julie Whiting. Despite the score's vocal and rhythmic challenges, the cast performed with complete confidence. The harmonies were spot on, the ensemble work was solid, and they clearly put a lot of thought into the vocal casting of the leads. Jaime O’Donoghue is undeniably talented as Veronica. She has that slightly awkward, dorky quality that makes the character pop, while still having the vocal strength to carry the show. There is actually a hint of Winona Ryder in her physicality, which works beautifully for this role, especially after seeing Jaime channel that same energy so well in Stranger Sings earlier this year. Her vocal runs in ' Beautiful' were stunning, her tipsy acting was hilariously accurate, and her emotional spiral later in the show felt realistic. ' I Say No' is no small ask after everything that comes before it, and Jaime handled it with epic stamina. Adam Goodall’s portrayal of J.D. leaned into the darkest sides of the character from the get go. ' Meant to Be Yours'  was a vocal powerhouse moment, with the backing singers building the tension effectively. His performance is dangerous, highly aloof and expressionless, which added to the unease. I did miss that initial charm that makes you understand why Veronica falls for him in the first place. Nonetheless, the intensity was there, and it escalated well across the show. Katrina West was completely in control of her kingdom as Heather Chandler. Forget just running the school; she owned the Crete Street Theatre. The attitude, the presence, the vocals, it all locked in. ' The Me Inside of Me'  was a standout, with real humour in those ghostly moments where she casually filed her nails or observed the chaos around her with complete detachment. Plus, her red feather slumber look was divine. Ally Hickey’s Heather Duke had a great sense of build, and 'Never Shut Up Again ' was insanely impressive. It is a challenging number and she rose to it with strong vocals and high energy. Leah Erskine’s Heather McNamara brought a lovely mix of ditzy charm and vulnerability, paired with genuinely beautiful vocals. ' Lifeboat' was divine, even if it sat just slightly low for her range. The emotion still came through clearly, and she gave the character real heart. Together, the Heathers worked so well as a trio. 'Candy Store ' was slick, sassy, and confident. You could see the hierarchy immediately while still getting distinct personalities from each of them. Emily Rohweder as Martha was perfectly cast. There was such a genuine innocence and sincerity in her performance that made ' Kindergarten Boyfriend'  devastating. I completely believed her lifelong crush and that quiet, unwavering devotion she had carried with her for years. Greyson Vaughn and Anthony Vitetzakis were comedy standouts as jocks Kurt and Ram, completely fearless, fully committed, and always entertaining to watch. Both leaned all the way into the physical slapstick, clearly understanding the assignment and then pushing it even further. ' Fight For Me'  was brilliantly blocked, while ' You’re Welcome'  was driven by their unapologetically over-the-top tenacity, Darcy Morris as Kurt’s Dad and Sean Wilson as Ram’s Dad were a total riot, nabbing the spotlight like pros in ' My Dead Gay Son' . Meanwhile, J.D.’s dad brought a seriously unsettling presence, which gave those darker scenes extra weight. A.P. Aimee Boyd ’s Ms. Fleming channelled that larger-than-life, almost Starkid-esque flair that suits the role. The ensemble roles fully committed to the bit, which makes all the difference in Heathers . Levi Rayner’s sound work was generally spot-on, with just a few moments that could use some fine-tuning for clarity. ' Shine a Light'  might not have dazzled visually in the same way as other numbers, but the vocals were rock solid. What this production does particularly well is honour both sides of Heathers : the outrageous satire and the very real teenage angst underneath it. Blake Russell’s  direction allowed the humour to land because the underlying truths were always present. It is bold, committed, and full of detailed acting, blocking, and technical choices that show real intention. From the fearless ensemble to standout character work and strong musical direction, Beenleigh Theatre Group clearly trusts the material and each other.

Presented by Paterson Productions Venue : Twelfth Night Theatre Directed by Sam Caruana Musical Direction by Mark Mirhan Choreography by Kamara Albertson Photography: PIF Productions Kenn Wylchi Santos There’s something about Priscilla, Queen of the Desert  that makes you want to grab your boa and live loudly! Based on Stephan Elliott’s beloved 1994 film, the story follows drag queens Tick and Adam and their glamorous trans friend Bernadette as they travel from Sydney to Alice Springs in their lavender bus “Priscilla.” It’s set in the 1990s, when queens weren’t exactly common in regional Australia... and the trio’s road trip becomes a sparkling odyssey of friendship, identity, and acceptance, served with disco bangers and a whole lot of high heels! From the first glitter explosion of “It’s Raining Men,” the powerhouse Divas ( Alexis Lee , Claire Sutton , Eleanor Grieve ) had the crowd in the palm of their hand. From there, the dance floor never cooled down. Kamara Albertson’s  choreography made every number pop. If there was a disco move that existed, it was in there! The large ensemble filled the stage for “Go West,” delivering powerhouse vocals and precision chorie that brought the house down. Simon Chamberlain stole the show as the glitzy and spunky Felicia. Simon is the complete package: singer, dancer, actor, and queen! His performance of “Venus” was electrifying, and his La Traviata lip-sync moment from the orchestra pit (complete with bubbles) was epic. He finally fulfilled his dream of performing Kylie Minogue atop Uluru, his high notes so powerful they nearly blew the roof off. He could also deliver zingers better than a stand-up comedian, and could strut in heels better than most of us can manage in sneakers. Honestly, his legs and dance agility in heels put me to shame. And that blonde wig was pure Hannah Montana. Jason Miller  gave Tick/Mitzi a warm, soulful centre. His “I Say a Little Prayer” was tender and gorgeously sung, building to full diva glory. Later, his big number “Cake (Out in the Rain)” showed off a powerful voice and a delightfully cheesy showman grin. Adam Bartlett’s Bernadette, meanwhile, was the emotional anchor of the show. With poise and dry wit, Bartlett embodied a woman who’s seen it all but still has room for love and compassion. The way he commanded a scene with a single eyebrow raise or cutting remark was delicious. His chemistry with David O’Keeffe’s sweet, rugged Bob gave the show romantic grounding; their connection blossoming with warmth and gentle humour. Among the supporting cast, Vanessa Chuah  absolutely nailed Cynthia’s iconic ping-pong number, blocked to perfection for maximum comedy. Meg Hargraves  as Marion gave lovely groundedness. Patricia Dearness and Caleb Holman  added Aussie flavour in their featured turns. Special shout-outs to Sunny J , Mikey Searle , and Meggie Ryder , whose energy among the dancers were standout. And when Clayton Eltis  led “Thank God I’m a Country Boy,” complete with a Nutbush moment, it was peak Aussie mood. Fraser Goodreid  (alternating with Spencer Goodreid ) melted hearts as young Benji. Watching him proudly admire his dad dressed as Mitzi during “Always on My Mind” was genuinely moving. The tenderness of that scene cut through the glitter and disco, grounding the show in real love and acceptance. The mascs in the cast could do it all: intimidate the queens one minute, and then become queens the next! Blonde Diva Claire Sutton  shone in “Girls Just Wanna Have Fun,” effortlessly hitting sky-high notes as Simon joined in to show off his own impressive belting ability. Highlights were plentiful: the riotous “Don’t Leave Me This Way” (the most fun funeral I’ve ever attended), the chaotic karaoke night at Broken Hill with mullets galore, the heartfelt “True Colours” trio, and the disco inferno of “I Love the Nightlife”. The live band, led by musical director Mark Mirhan  (in a wig), was flawless from start to finish. Every hit song landed perfectly, and the brass section had the audience bopping in their seats during “Boogie Wonderland.” These lush orchestrations gave new life to the jukebox classics, from “Hot Stuff” to “I Will Survive.” And speaking of surviving, what a feat of design! The bus itself, built by Gary Winsen  and Samantha Paterson , rotated smoothly from its tin-covered exterior to a glitter-bomb interior worthy of a Vegas nightclub. During “Colour My World,” Tom Dodds’  lighting turned it into a rainbow beacon in the outback night. Lachlan Hall’s  drag costumes and elaborate wigs were jaw-dropping, each reveal more outrageous than the last, from floral bodysuits to a dress made entirely of thongs (the footwear kind). Supported by Milton Redshaw’s  wardrobe management and Rosie Humphreys’ ingenious quick-drag makeup masks, every transformation felt like pure stage sorcery. The audience was gloriously rowdy, whooping, laughing, gasping, and wincing at the sting of the show’s moments of homophobic slurs. It was a vivid reminder of how far we’ve come, and how vital stories like this still are. “We Belong” wrapped the journey up with heartfelt warmth before the megamix sent us out dancing and grinning. It was a joyful, unapologetically queer celebration of drag artistry, self-expression, and friendship. Director Sam Caruana  steered this production with a sure hand and a beautiful heart. His vision balanced the show’s outrageous camp with real emotional depth, allowing moments of silliness and sincerity to coexist beautifully. The pacing was tight, the transitions slick, and the humour landed every time. Caruana’s eye for detail shone through in the character work and the clever staging, particularly in how the bus was incorporated. It was clear the cast trusted their director completely, and that sense of camaraderie radiated from the stage. With powerhouse performances, Aussie humour, impeccable design, and dance moves for days, Priscilla, Queen of the Desert  was everything I hoped it would be and more. If I hadn’t attended the final performance, I would have definitely gone again! Huge congratulations to Samantha Paterson, Sam Caruana, and the entire creative team for a production that not only looked spectacular but felt it too. This bus is going places.

Title: Any Moment: A New Musical Presented By: Bradley McCaw Makes Musicals / PIP Theatre Genre: Contemporary Australian Musical / Workshop Production Synopsis :Any Moment is a brand new Australian musical exploring the lives of ordinary people on the brink of extraordinary change. Set in real time over a single day, the show captures moments of love, loss, hope, and transformation—reminding us that life can shift in any moment. This pilot workshop offers Brisbane performers the rare opportunity to help shape a new work from one of Australia’s most dynamic musical storytellers, Bradley McCaw, in an intimate, Off-Off Broadway–style development process at PIP Theatre. Audition Date: Self-tape submission due prior to Call Backs – Sunday 2 November 2025 Audition Location and Address: Call Backs at PIP Theatre, Milton, Brisbane Audition Self-Tape Due: Submit your video audition via email to bradleymccaw@gmail.com Audition Requirements: Select one vocal part: Soprano, Alto, Tenor, or Baritone Record yourself performing 16–32 bars of the song “Twenty Four” Backing tracks and sheet music available here: Backing & Sheet Music Playlist Submit your video link (YouTube, Google Drive, etc.) via email. Successful applicants will be invited to attend in-person callbacks at PIP Theatre on 2 November. Performance Dates: Friday 23 January 2026 Saturday 24 January 2026 Performance Location: PIP Theatre, Milton, Brisbane Rehearsal / Workshop Dates: 12 – 22 January 2026 (10-day musical development workshop) Performer Age: 18+ Production Website: bradleymccawmakesmusicals.com/news-/any-moment-audition-announcement-pip-theatre Other Information: This is a profit-share workshop production. 4 actors (plus understudies) will collaborate directly with the composer to workshop new material and perform in a developmental showcase. The project provides a unique professional opportunity to build experience in new musical development processes. Available Roles / Character Breakdown: Four roles available: Soprano – Bright, lyrical voice; expressive and dynamic emotional range. Alto – Warm, soulful tone; strong lower register and storytelling ability. Tenor – Contemporary sound with mix/belt ability; emotive and engaging. Baritone – Rich, resonant tone; grounded presence and versatility. Understudies for all vocal lines may also be cast.

Title: The Shawshank Redemption Presented By: Ipswich Little Theatre (ILT) Genre: Drama / Adaptation Synopsis: When Andy Dufresne is wrongfully convicted of murder and sentenced to life in the notorious Shawshank Prison, he must find a way to survive—and keep his hope alive—amid corruption, violence, and despair. Through resilience, intelligence, and the unlikely friendship of fellow inmate Red, Andy discovers redemption in the darkest of places. Based on Stephen King’s 1982 novella and made famous by the acclaimed 1994 film, The Shawshank Redemption is a powerful story of friendship, endurance, and the unbreakable human spirit. Audition Date: Monday 10 November 2025 – 7:30pm Audition Location and Address: Ipswich Little Theatre (ILT) Burley Griffin Drive, Ipswich QLD Audition Requirements: Prepare a 1-minute dramatic monologue showcasing emotional depth and character range. Familiarise yourself with the provided audition sides on website. Be ready for cold readings during the audition. Complete the online audition form before attending. Audition Registration: Register Here via ILT’s Website Performance Dates: 25 February – 14 March 2026 Performance Times: Evenings: 7:30pm | Matinees: 2:00pm Performance Location: Ipswich Little Theatre (ILT) Burley Griffin Drive, Ipswich QLD Rehearsal Dates & Times: Monday, Tuesday & Friday evenings – 7:30pm onwards Additional weekend rehearsals as required Warnings: Contains strong adult themes, violence, and coarse language Performer Age: 18+ Creative Team: Director – Shane Mallory – 0403 175 702 AD - Amanda Harrison – 0449 595 458 info@ilt.org.au Production Website: https://www.ilt.org.au/getinvolved/auditions/ Other Information: Actors must be able to perform with authentic American dialects as noted. All auditionees are encouraged to indicate availability for backstage or front-of-house support if not cast. ILT encourages diverse casting and welcomes performers of all backgrounds. ILT membership is required for insurance and participation purposes. Available Roles / Character Breakdown: Andy Dufresne (20–40, Male) – Intelligent, quiet, and resourceful. Wrongfully convicted banker who maintains hope through intellect and resilience. Must be physically dexterous (capable of climbing down a pipe). General American accent required. Red (Ellis Boyd Redding) (20–50, Male, Person of Colour) – Charismatic and streetwise inmate. The voice of experience and humanity. General American accent required. Warden Norton (30–50, Male) – A self-righteous preacher-type hiding corruption and cruelty beneath piety. Southern American accent preferred. Bryan Hadley (20–50, Male) – Head guard. Loyal to Norton, blunt, and power-hungry. Boston accent required. Bogs Diamond (20–40, Male) – The prison’s feared “Sister” leader; a charming yet violent predator. General American accent. Brooks Hatlen (50–75, Male) – Elderly librarian and long-term inmate. Kind and institutionalised, unable to cope with freedom. General American accent. Entwistle (20–50, Male) – A gentle, well-meaning prison guard who tries to appear tough. General American accent. Rooster (20–50, Male) – Southern “Sister” who thrives on dominance and routine. Southern American accent required. Rico (20–50, Male, Person of Colour preferred) – Born-again Christian with bipolar disorder. Puerto Rican accent preferred. Tommy Williams (18–30, Male) – Young, impressionable inmate. A good-hearted “pretty boy” who looks up to Andy. General American accent. Dawkins (20–50, Male) – Charismatic inmate addicted to gambling. General American accent. Pinky (18–40, Male) – A self-serving opportunist who shifts alliances easily. General American accent.