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Title:  Come From Away Presented By:  Savoyards Musical Comedy Society Inc. Genre:  Musical Theatre Synopsis: Come from Away is based on the true story of when the isolated community of Gander, Newfoundland, hosted the world in the aftermath of September 11, 2001. What started as an ordinary day transformed into an international sleepover when 38 planes, carrying thousands of passengers, were diverted to Gander. The locals opened their hearts with music, hospitality, and compassion, fostering a global sense of family in a time of uncertainty and fear. Audition Dates: Friday 14th March 2025:  7 pm – 10 pm Saturday 15th March 2025:  9 am – 5 pm Sunday 16th March 2025:  9 am – 5 pm Monday 17th March 2025:  7 pm – 10 pm Friday 21st March 2025:  7 pm – 10 pm Saturday 22nd March 2025:  9 am – 5 pm Sunday 23rd March 2025:  9 am – 5 pm Monday 24th March 2025:  7 pm – 10 pm Audition Location and Address: Savoyards Hall, Ferguson Street, Manly Call Backs:  Wednesday, 26th March 2025, 7 pm – 10 pm at Wynnum State High School, Peel Street, Manly Audition Requirements: Song:  Prepare two 60-second song excerpts demonstrating belt and upper mix voice in a contemporary, naturalistic style. Avoid operatic, folk, or rock songs and songs from the show. Monologues:  Prepare two contrasting 45-60 second contemporary monologues in different accents. Accompaniment:  Accompanist available on Saturday 22nd March (9 am – 12:30 pm). Bring sheet music if using the accompanist or backing tracks on an aux cable-ready device. Other Requirements: Colour headshot (minimum size 10cm x 15cm) Completed audition form with all scheduling clashes There is no movement component during this audition Audition Registration: Using the audition pack template, email auditions@savoyards.com.au  with your name, mobile number, desired track(s), and whether you require an accompanist. Audition Pack:   Click here for the audition pack Performance Dates: Friday, 20th June 2025 @7:30 pm (Final Dress Rehearsal) Saturday, 21st June 2025 @7:30 pm Sunday, 22nd June 2025 @1:30 pm Saturday, 28th June 2025 @1:30 pm Saturday, 28th June 2025 @7:30 pm Sunday, 29th June 2025 @1:30 pm Saturday, 5th July 2025 @1:30 pm Saturday, 5th July 2025 @7:30 pm Performance Location:  Iona Performing Arts Centre, 85 North Road, Wynnum West QLD Rehearsal Dates:  Starting Sunday, 30th March 2025 Rehearsal Times: Sundays 12 pm - 5 pm Mondays 7 pm - 10 pm Wednesdays 7 pm - 10 pm Rehearsal Locations: Wynnum State High School, 25 Peel Street, Wynnum QLD Savoyards Hall, 11 Ferguson Street, Manly QLD Important Dates: Launch Event:  Sunday, 27th April 2025 (All cast required) Sitzprobe:  Sunday, 1st June 2025 Bump-in:  Friday, 6th June & Saturday, 7th June 2025 Bump-out:  Sunday, 6th July 2025 Required Age:  18+ Creative Team: Director: Andrew Cockroft-Penman Musical Director: Steven Days Choreographer/Assistant Director: Kaitlin Hague Other Information: Savoyards celebrates diversity and welcomes individuals of all backgrounds, identities, and abilities to audition. Inclusive casting and representation are central to this production. Successful auditionees will receive a phone call, while others will be contacted via email. A social media blackout is required for successful cast members until advised by the marketing team. Production Website:   Savoyards Musical Comedy Society Character Breakdowns: Diane (Track 1) A reserved, Texan divorcee is deeply worried about her son, who she fears may have been flying at the time of the attacks. Upon learning he is safe, she experiences a new outlook on life and unexpectedly finds romance with Nick. Secondary Roles: Crystal, Brenda Stage Age: 50s-60s Vocal Type: Warm, natural contemporary soprano with a strong mix up to D5 Hannah (Track 2) The mother of a Manhattan firefighter who waits in agony for news about her son amidst the chaos of 9/11. Secondary Roles: Margie, Mickey, Party Girl Stage Age: 40s-60s Vocal Type: Contemporary soprano with a strong pop belt and mix up to E5 Janice (Track 3) An eager and enthusiastic young local TV reporter who is thrown into her first major story on the day of the attacks. Secondary Roles: Flight Attendant, Britney, Party Girl Stage Age: 20s Vocal Type: Mezzo with a strong pop belt and mix up to E5 Beulah (Track 4) The kind-hearted head of the Gander Legion who is a maternal figure with a strong moral compass. Secondary Roles: Delores, Customs Officer Stage Age: 40s-60s Vocal Type: Alto with belt up to B4 Bonnie (Track 5) A determined and no-nonsense mother of three who is the head of the Gander SPCA. Fiercely protective and resourceful, she stops at nothing to rescue the animals stranded on the planes. Secondary Roles: Martha Stage Age: 30s-40s Vocal Type: Mezzo with belt up to B4 Beverley (Track 6) The first female captain for American Airlines who is a trailblazer with an unshakable passion for flying. Secondary Roles: Annette Stage Age: 40s-50s Vocal Type: Contemporary soprano with an easy mixed or belted C#5 Oz (Track 7) A quirky and endearing constable in Gander's two-person police force who rises to the challenge when the town's population suddenly doubles. Secondary Roles: Joey, Customs Officer, Mr. Michaels, Terry, Matty, Rabbi, Head Cardiologist Stage Age: 30s-50s Vocal Type: Strong contemporary tenor up to G4 Kevin T (Track 8) A driven environmental energy company executive from Los Angeles, Kevin T is on holiday with his boyfriend Kevin J when they are stranded in Gander. Secondary Roles: Garth, President Bush Stage Age: 30s-40s Vocal Type: Strong contemporary tenor up to G4 Kevin J (Track 9) Kevin T's boyfriend and secretary, Kevin J is initially sarcastic and bitter about being stranded in Gander. His character arc reveals a deeper sense of vulnerability and reluctant admiration for the town's generosity. Secondary Roles: Ali, Dwight Stage Age: 30s-40s Vocal Type: Tenor or baritenor Bob (Track 10) A hardened New Yorker who arrives in Gander suspicious and fearful, expecting chaos and crime. Instead, he experiences genuine kindness, leading him to shed his jaded outlook and embrace the unexpected beauty of community. Secondary Roles: Muhumuza, Captain Bristol Stage Age: 20s-40s Vocal Type: Strong contemporary baritone Claude (Track 11) The charismatic and beloved Mayor of Gander who is the heart and soul of the town's response efforts. Secondary Roles: Derm, Brenda’s Brother, Eddie Stage Age: 40s-60s Vocal Type: Gruff, natural-sounding baritenor with a strong G4 Nick (Track 12) A focused and reserved English oil engineer who's world is upended when he meets Diane. Their unexpected romance blossoms amidst the chaos, offering a touching testament to love's ability to thrive in unlikely circumstances. Secondary Roles: Doug, Male Townsperson Stage Age: 50s-60s Vocal Type: Warm, natural baritone or baritenor with an easy E4 and strong pop sensibility

Blanc de Blanc Encore Pops Its Cork in Brisbane! When you think of ' Blanc de Blanc Encore' , envision champagne-soaked decadence with a cheeky wink and a whole lot of jaw-dropping spectacle. This dazzling cabaret-circus show has toured Australia and beyond, and now it’s back in Brisbane at the spanking new West End Electric. Buckle up for a night that will leave you breathless, exhilarated, and possibly in need of a cold shower.   VIP night kicked off in style with a full house dressed in their finest white-and-sparkle attire. Yours truly even rocked a literal wedding dress — why not, right? With complimentary champagne flowing and an electric atmosphere buzzing through the venue, it was clear we were in for a wild night.   Opening with a dazzling magic act involving a disco ball illusion—a mesmerising start to an evening of unrelenting entertainment. The show dives straight into the land of risqué business right from the start—get ready for some, burlesque, and plenty of provocative moments to make you blush. If you are considering attending (and you absolutely should), I strong suggest sitting in the front row or on an aisle for the best chance to be fully immersed in the spectacle. Co-hosts Rémi Martin and Félix Pouliot are the dynamic duo who both keep the chaos in check and let it run wild. With their French humour, cheeky banter, and the occasional dash of nudity, they had the audience in stitches. As acrobats too, they didn’t just host; they owned  the stage with dazzling pole routines. The cast shines as a cohesive ensemble, with their cleverly choreographed routine with towels and a playful pillow fight segment bringing heaps of fun and energy to the stage. Other highlights include: Jess Mews’ Hula Hoop Magic:  Spinning eight hoops at once to the French version of ' A Little Party Never Killed Nobody?'  Iconic. Sasha Lee Saunders’ Vocals:  Her rendition of ' I Put a Spell on You'  was absolutely spellbinding, and a jazzed-up version of ' We Can't Stop' was equally captivating. The Grape Act:  Audience participation at its finest—just be sure to practise your underarm throws and brace yourself if you’re easily grossed out! Filthy Maid Routine:  The cast don French maid outfits, spray Windex on the audience, and have the time of their lives. Experimental Dance:  Misha Makarov’s contortions had the audience gagging in shock—it was boundary-pushing, traumatising, and unforgettable. Pole Dancing Phenomenon: Félix showcased superhuman core strength, while Rémi’s bendy pole act had him swaying over the audience.   Of course, no Parisian-inspired show would be complete without the iconic ' Non, je ne regrette rien' . Rémi’s audacious twist on the song had the audience literally howling with laughter—a testament to his sheer confidence to use a certain piece of his anatomy in the act. It takes a bold performer to pull that off, and Rémi does it with panache. We get the legendary ' Can-Can ' song and dance of course and Gershwin’s ' Rhapsody in Blue' is also reimagined in a way you won't forget—let's just say that Sasha's graces the stage in a flowing gown that whispers sophistication, only to shatter expectations with a deliciously unexpected twist.   The undeniable highlight for me was the breathtaking hoop act duet between Spencer Craig and Caitlin Tomson-Moylan. Perfectly placed as the show's grand finale, they move in perfect synchronisation, effortlessly transitioning from one intricate pose to the next in the blink of an eye. The speed, grace, and seamless connection between them are completely mesmerising. The music is an absolute standout. From sultry live performances to party anthems, I’m pretty sure I need this entire playlist. The Moulin Rouge and Gatsby-esque vibes, combined with modern elements, maintained the increasing energy. The breathtaking costume designs established a glamorous, yet sensual atmosphere for the evening. A big shoutout to the cast, who are not only incredibly talented but also exceptionally beautiful. Special recognition goes to the charming Félix with his irresistible stage presence and adorable dimples, and to Alex, an audience member who stole the spotlight for a brief time—both Rémi and Félix were smitten with him!   'Blanc de Blanc Encore'  is provocative, classy (usually), and completely in your face. Champagne flows (literally), bubbles pop (literally), and feathers soar (literally), allowing the audience to forget their troubles for a few hours. It’s daring, indulgent, and beyond captivating. A heartfelt thank you for the tickets — my guests and I had the absolute time of our lives, and this show is one I’ll be raving about for quite some time! Tickets available here

Take Your Crowning Glory: A Regal Rave for 'Six the Musical' Divorced. Beheaded. Live on stage in Brisbane—' Six the Musical' has returned, and it's got more sparkle, sass, and sisterhood than you could ever want from a night at the theatre. It’s not every day you get the privilege of watching Henry VIII's wives reclaim their stories in dazzling pop-diva style, but that’s exactly what you get at Six ; now playing at QPAC’s Playhouse until February 9th. I was lucky enough to attend the opening night and have already booked to come again! After performing in Brisbane just two years ago, we are treated to two of the original members returning.   For those living under a rock, this musical is a pop-fuelled history lesson reimagined as a concert, where King Henry VIII’s six wives take centre stage to tell their stories. It’s fierce, funny, and unapologetically feminist. Introducing themselves through one of the BEST opening tunes in the musical theatre world, ' Ex-Wives', each Queen competes to convince us, the audience, that her experience being married to history’s infamous Tudor tyrant was the worst. What follows is a high-energy, 90-minute extravaganza packed with unforgettable songs, jaw-dropping choreography, and dazzling costumes.   Let’s break down the fabulousness, shall we? Kimberley Hodgson kicks things off as the indomitable Catherine of Aragon, delivering the fiery Beyoncé-inspired opening number 'No Way.' With commanding characterisation and powerhouse vocals, she sets the tone for the show, demanding respect as Henry’s longest-reigning wife. Hodgson is absolutely fierce, and doesn’t miss a beat—even after an intense opening group number. Anne Boleyn, played by Deirdre Khoo, is a comedic standout. Clad in green and armed with deadpan delivery, she’s the cheeky queen who turns her tragic beheading into comedic gold. Her song 'Don't Lose Ur Head' is a pop-rock banger brimming with playful sass and guillotine-sharp wit. Loren Hunter reprises her role as the gentle yet strong Jane Seymour. Her moving ballad ' Heart of Stone' evokes the emotional power of Adele's soul-stirring anthems and packs an emotional punch. Hunter infuses Jane's tragic tale with sincerity and depth, making it impossible not to feel a pang of sadness for the queen who died too soon. Having portrayed this character for years, it's clear Hunter cherishes the role. Her skill in tapping into that raw emotion every performance is truly admirable—and she even delivers dad jokes! Following that is the electrifying 'Haus of Holbein,' a lively and neon-lit group number illustrating how Henry selected his fourth wife. Chiara Assetta (Dance Captain/Swing) takes on the role of Anne of Cleves, and she is a revelation. Her number 'Get Down' is a funky, Rihanna-infused showstopper that celebrates Cleves’ post-divorce glow-up. Assetta infuses the role with goofy humour and a sly wink, cementing her place as a front runner for this reviewer.   My personal favourite though? Katherine Howard, reprised by Brisbane’s own Chelsea Dawson. In her hot pink ensemble, Dawson delivers the evening's most lengthy and emotionally intense performance. Her Ariana/Britney-style solo 'All You Wanna Do' is a pop masterpiece that starts flirty and carefree but takes a dark turn through subtle shifts. Dawson masterfully navigates this emotional journey, embodying the vulnerability of a young woman who was exploited and ultimately condemned. Dawson is a powerhouse of endurance and emotion, and I simply can’t imagine anyone else in the role now.   Finally, Giorgia Kennedy brings the story home as Catherine Parr. Her soulful number 'I Don’t Need Your Love' flips the script, turning tragedy into triumph through her powerful declaration of independence and strength. Kennedy brings grace and warmth to the role, delivering a stunning vocal display and a monologue that highlights Parr’s resilience and intellect. The connection among these queens is extraordinary, a quality I've noticed missing in other small-cast musicals. They support one another with flawless harmonies, expertly polished choreography, and plenty of playful banter. The ladies-in-waiting—aka the incredible onstage band—are equally fierce, propelling the show’s unstoppable rhythm and adding to the girl-power. Beyond the powerhouse performances, the technical elements are a visual feast. The lighting is spectacular. The costumes are pure perfection—glittering, distinctive, and totally iconic. And the incredible wigs and headpieces stay flawless through all the vigorous choreography. A distinctive feature of this production is the use of handheld mics, which the Queens tuck into their costumes when it's time to bust a move.   If you can, I highly recommend snagging seats in the front rows so the Queens can see your face as you cheer them on! The Queens love engaging with the audience, and it’s a thrill to feel like you’re part of the action. I’ve sat in various spots and can confirm: no seat is a bad seat when these Queens are slaying the stage. They even get the entire audience on their feet for the final number. My first experience was front row on the far left, and it didn’t matter that I wasn’t in the centre—the Queens perform to every side. My second time was in the fourth row, dead centre, and I hope they saw my beaming face! This Friday I’ll be in the balcony wheelchair area, bringing as much excitement as ever!   Six the Musical is camp, clever, and absolutely unmissable. Its fusion of pop music genres, historical narrative, and outstanding performances makes it one of the most unique and empowering theatre experiences out there. So, what are you waiting for? Grab your crown, bring your energy, and get ready to be rocked by these spectacular Queens. Photography by James D Morgan Tickets available here

When I told my housemates I was heading out to see ' Evil Dead: The Musical' , their response was basically, "Wut?" To be fair, they’re not exactly theatre people. But I also had no clue what to expect... My favourite kind of show...   Ghostlight Theatre Co. has unleashed a blood-soaked, horror-comedy extravaganza with the Queensland premiere of ' Evil Dead: The Musical' . If you are expecting a night of serious, traditional theatre, think again. This show is chaotic, campy, and gloriously gory—a love letter to B-grade horror flicks and cult musical classics—and it absolutely delivers. If you haven't seen the films based on Sam Raimi’s 1980s ' Evil Dead' series, don't worry, you can skip the popcorn and the couch (I did). The musical adaptation packs in all the essential stuff: a cabin in the woods, college kids making increasingly poor decisions, demonic possession, and enough fake blood to fill a bathtub. Directed by Yasmin Elahi and Benjamin Oxley, this immersive show takes place at the spook-tacular EvilCorp Horror Maze and Bar, where even the drinks menu is themed. Just remember to shield your drink when the blood starts spurting—sometimes from the actors' mouths! The intimate venue holds about 30 brave souls, placing the audience so close to the action that the entire theatre becomes a splatter zone. (Pro tip: wear black or grab a poncho. Seriously, no seat is safe. It’s a bloodbath in Act Two!) The production team makes fantastic use of the limited space, with set designer Tamzen Hunter transforming the stage into a small-but-spooky cabin in the woods that feels like it’s closing in on you. The props, also by Hunter, are a brilliant collection of horror movie tropes, from the chained-up cellar stocked with creepy artefacts, to a suspicious moose head trophy on the wall that somehow manages to be both unnervingly creepy and absurdly comical. Oh, and in case you forgot you were in a possessed cabin, the walls have moving items, of course. Special effects designer Ali Morgan delivers a buffet of grotesque gory surprises. The attention to detail is excellent—the directors must’ve held countless production meetings to get every moment, splatter, and scream just right. The cast fully commit to the madness and deliver performances that are fearless and ridiculously self-aware. Patrick ‘Az’ James shines as Ash, the reluctant hero with a chainsaw for a hand. His voice channels the same bravado as Brad in ' The Rocky Horror Picture Show ', his vocals are to die for, and he nails the perfect blend of charm and bewilderment, using his expressive eyes to convey every emotion. When a prop went rogue, his improv skills were top-notch, making the whole thing even funnier and cranking up the parody factor to eleven. Adam Goodall is delightfully obnoxious as Scotty, Ash’s slacker best friend, flaunting his killer vocals and comedic timing. I couldn't get enough of his tango-inspired duet with Ash after they first encounter a demon— 'What the F*** Was That' —a perfectly reasonable reaction to being ambushed by their demonic friends. Zara Lassey completely steals the show as Cheryl, Ash’s little sister who is the first to get possessed by demonic forces. Her transformation from a timid, scared sibling to a foul-mouthed demon is both hilarious and impressive. I can only imagine the toll her vocal cords must’ve taken after all the horror-movie screaming and gravelly demonic taunts; not to mention her hair getting bigger and crazier with each scene—talk about a hair-raising experience! But let's not overlook her beautiful voice—really shining in the brief yet mighty solo, 'It Won’t Let Us Leave,' and soaring above the rest in the final group ensemble numbers. Isabel Kraemer nails the hilarious 'Housewares Employee' duet, perfectly capturing the absurdity of romanticising falling for someone you work with. Alongside Ash, the dance moves and chemistry are a riot, with impressive lifts that enhance the comedic brilliance. Isabel Kraemer as Linda and Julianne Clinch as Shelley put their all into 'Look Who’s Evil Now,' confronting Ash with both menace and absurdity. These two bring full energy—no holding back! Ariel Franzmann, joining the plot late as Annie (from Evil Dead 2 ), is a standout of comedic timing and exaggerated antics. Her rendition of 'All the Men in My Life Keep Getting Killed by Candarian Demons' had the audience howling. No notes here—she was flawless! Skye Schultz as Ed delivers a charming performance, especially in the adorable 'Bit-Part Demon' number, where their stunning vocals animate a character who’s passive in both life and death. And, of course, we can’t forget the ever-reliable Jake, played by Oliver Catton. He's got that rough 'trucker' persona, complete with an epic solo and a stash of props that just keep appearing out of his costume—like a magician’s hanky, but for a demon-slaying trucker. The score is packed with catchy numbers, kicking off with ' Cabin in the Woods '; an upbeat, fun-filled adventure that sets the stage for the chaos to come. I loved the tongue-in-cheek energy where both the audience and the actors knew what was coming, but the characters remained blissfully unaware of their impending doom. The ending of that number is stellar, with overlaid vocals as the five college students meander around the stage, each belting out their own tune like a musical game of Twister. Hats off to Musical Director Benjamin Oxley! The cast handles the demanding vocals and choreography with impressive stamina, particularly in the four  final group numbers. ' Do the Necronomicon ' kicks off the finale with crazy choreography, and the energy just keeps ramping up from there until 'Blew That B*tch Away.' Tayla Simpson’s choreography is dynamic and high-energy, keeping the actors moving fluidly despite the ever-present puddles of fake blood. Michelle Radu’s fight choreography is particularly impressive, delivering moments that are chaotic yet well-executed—especially in the 'It’s Time' sequence. I was frantically ducking from blood spurts while trying to take in all the carnage unfolding before me. The directors, dressed in their pristine white outfits and seated in the front row for media night, walked out drenched in red—a perfect testament to their total commitment to the show’s messy, immersive nature. The clever integration of costumes and practical effects elevates the production, with spurting blood tubes, severed limbs, and visual gags that keep the audience on edge. The costumes start as quintessential ‘80s-inspired spring break outfits that evolve (or should I say devolve ) into shredded, blood-soaked chaos. Special mention to Annie's epic quick-change costume, the demonic masks, the long-fingered gloves, and hilarious tree costumes (you'll see). Shoutout to the lighting design too, which amps up the tension with eerie glows, strobe flashes, and dramatic spotlight moments that perfectly highlight all the blood-soaked chaos. The audience was cackling throughout the show; although some of that laughter was definitely nervous—especially from those seated in the far-left front row near the cellar. If you easily get the heebie-jeebies, sit in the back. But honestly, this is a parody—so toughen up and embrace the madness! 'Evil Dead: The Musical' is a gutsy, hilarious, and thoroughly entertaining production that hits every mark. The fight choreography is exhausting to watch, the special effects are top-notch, and the cast’s energy never falters. Ghostlight Theatre Co. has thought of everything, creating a parody that lovingly pays homage to the horror genre without crossing into cringe territory. If you’re lucky enough to have snagged a ticket to this sold-out show, prepare to laugh, scream, and leave with splatters of fake blood. Brisbane has never seen anything quite like it.

A Rock 'n' Roll Nostalgia Ride Presented by Mad About Theatre, Writers Republic, Brisbane City Council & Brisbane Powerhouse. Based on the beloved '90s Australian animated TV series, Li’l Elvis Jones and the Truckstoppers: The Musical brilliantly reimagines the quirky, larger-than-life characters and outback town of Wannapoo in a show that radiates joy, chaos, and plenty of rock 'n' roll energy. Presented by Mad About Theatre, the production captured the whimsical charm of the original while amplifying its chaos, colour, and cartoonish joy in ways only live theatre can achieve. I was curious about how the story would translate to the stage—and I was blown away by its imaginative execution. From the impeccable set design and zany wigs to the energetic performances and upbeat original music compositions, the show hit all the right notes for family entertainment. Adding to the fun was a buzzing audience filled with kids and parents soaking up the school holiday excitement, plus a photo section where fans could pose with cardboard cutouts of the cartoon characters.   Joined by a cast of characters from the original series, Li’l Elvis Jones and the Truckstoppers embark on an adventure filled with music, friendship, and a celebration of country and community. Li'l Elvis is a local legend, entertaining truck drivers at the roadhouse by playing Elvis Presley songs. But Li’l Elvis is tired of the music and his mum's insistence that he is 'the King' reborn. With his friends, Lionel and Janet, he creates his own sound – Didgibilli Rock. But when the greedy property tycoon WC Moore and his bumbling sidekick Duncan arrive in Wannapoo with grand plans to transform it into a tourist hotspot called Li'l Memphis, the townsfolk are quick to jump on board without fully understanding what they are agreeing to.   Set and Design: A Living Cartoon The set design was a visual spectacle, featuring rotating structures that transitioned from the dusty streets of Wannapoo to the depths of the mines, and could even literally unfold to unveil Li'l Memphis. Madeleine Barlow, the head of design, deserves a standing ovation for capturing the animated essence of the original series. From the scribbled stars projected as the scenery to the cartoonish props, every part of the design appeared as though it had been hand-drawn and then brought to life through theatre magic. Even the lighting, awash in vibrant colours, played a key role in turning the stage into a living comic strip. The costumes and wigs were impossible to miss. They were so colourful and exaggerated they could've been mistaken for a cosplay convention, with each wig styled to be delightfully over-the-top.   Musical Numbers & Choreography The music, composed by Glenn Moorhouse and directed by Michael Keen, was packed with rock 'n' roll beats and stirring ballads. The show’s musical energy was electric from the foot-stomping opening number "He's Li'l Elvis" to dazzling choreography that never let up. Aidan McIntyre, as the titular Li’l Elvis, shone with his soulful solo “An Existential Crisis/Who Am I?” beautifully capturing the heart and angst of a kid with a big voice and an even bigger identity crisis. The production was peppered with memorable moments, from the torch-lit choreography of “The Tomb of Ol' Man Izzard” to the rousing ensemble piece “Be What We Wanna Be,” which featured dynamic guitar, epic percussion, and didgeridoo by Caleb Fitzpatrick. The show-stopping tap number “Here’s Your Chance (Subterranea)” had the audience cheering—because honestly, what musical is complete without some tap dancing? One of my personal favourites was the number “My Voice,” performed by the three lead kids, the Truckstoppers. The near-final song, “I Think He's Changed His Mind,” featured excellent partner choreography. The whole cast looked like they were having the time of their lives. The creative team clearly hit the jackpot, putting together a dream team of performers who pumped the show full of energy and talent. Standout Performances The voice acting throughout the performance was impressive, with each performer amplifying the quintessential accent to match their animated counterparts perfectly. Aidan McIntyre led the charge as Li’l Elvis, capturing the character’s mix of determination, vulnerability, and angst with ease. Genevieve Krause as Janet and Koby Walsh as Lionel brought warmth and humour as his loyal bandmates. Alex Watson stole the spotlight as the hilariously villainous W.C. Moore with his upbeat number “Let’s Get Down to Business”—no, not that  Mulan song, but equally catchy. Dressed in a cartoonish yellow suit straight out of The Mask , Watson's striking presence and impeccable comedic timing were gold. Ben Adams as Duncan, the endearing and dramatic sidekick, was an audience favourite. Samantha Sherrin gave a knockout performance as Grace, the adoptive mother of Li'l Elvis. Her solo, “Anytime,” was a heartfelt highlight that beautifully showcased her rich, emotive voice. The breathtaking bridge of the song was so impactful and memorable that it seemed like the kind of number added specifically to showcase Sherrin’s abilities if it hadn’t already been in the libretto. Chloe Rose Taylor's versatility was astonishing as Rhonda Rorts, the reptilian, sultry villainess with a penchant for manipulation. Her Act 2 opener, “You Just Can’t Say That Anymore,” was both hilarious and captivating as switched personas from the slithering redheaded femme fatale to a prim blonde lawyer. Her hypnotic number, “Sweeties,” was eerie and mesmerising as she puppeteered the children with candy. Her performance was a perfect blend of camp and command.   The ensemble brought boundless energy and charming goofiness to every scene, with Carla Beard delivering a standout performance as Eileen Inyaface (I couldn't stop cackling every time her character's name was mentioned—apologies to the friend I brought along!). Sienna Randall and Chelsea Burton, members of the ensemble, made exceptionally engaging acting choices that continually held my attention. The younger cast members also excelled, especially during the rock-inspired number “Code Red,” which radiated School of Rock  energy and attitude. Direction & Execution Madison Thew-Keyworth’s direction and choreography hit all the right notes, striking a perfect balance between nostalgic homage and fresh storytelling. The script was peppered with classic Aussie humour that had both kids and adults laughing throughout. The frequent fourth-wall-breaking moments were a brilliant touch that added to the show's playful tone. I personally loved it (I always do) when shows engage the audience that way. They also managed to keep the humour family-friendly with amusing lines like “You're a bleeping bleep, WC Moore!”   The show was brimming with clever visual gags and Aussie lingo, yet it never lost sight of its heart: a story about identity, friendship, and finding one's voice—both literally and metaphorically. Whether you grew up with the original series or were experiencing it for the first time, the production delivered an electrifyingly good time. The moral of the story? Don’t sign a contract without reading it!   It’s truly exciting to see so much new Australian theatre being developed right here in Brisbane! Productions like ' Round the Twist the Musical'  by QLD Theatre, ' Eat Slay Zombie'  by Playlab Theatre, and my personal favourite ' Straight from the Strait'  by Opera Queensland are just the beginning. ' Fancy Long Legs'  by La Boite Theatre and now ' Li’l Elvis Jones'  by Mad About Theatre have quickly become standout favourites aimed at children’s audiences. I hope Brisbane keeps nurturing and supporting these vibrant new works. We are so lucky to have them!

Title:   No Dinner for Sinners Presented By:  Centenary Theatre Group Genre:  Comedy Synopsis: Jim Watt runs the London office of a stock exchange firm and is hosting a dinner for the International Director and his wife, Bill and Nancy McGregor, prominent members of the anti-permissive society group. As Bill strongly disapproves of unmarried couples living together, Jim asks his girlfriend, Helen, to pose as his wife for the evening. Helen flatly refuses and walks out, leaving Jim scrambling for a solution. Desperate, he turns to his eccentric cleaning lady, Edna, who agrees to step in—for a fee, of course. Chaos ensues as Edna struggles to manage the evening while cooking an elaborate meal and entertaining the guests. To complicate matters, Helen returns unannounced, followed closely by Jim's young assistant, Terri. A hilarious web of miscommunications and quick lies unfolds as Jim tries to save his job—and his sanity. Audition Date:  Saturday, 1 February 2025 Audition Time:  2:30 pm Audition Location and Address: Centenary Theatre, Corner of Queenscroft and Halsbury Streets, Chelmer Audition Requirements: Cold readings from selected pages of the script. A brief summary of previous experience (CV optional). A professional headshot will be taken on the day for publicity. Available Roles: Jim Watt  – Businessman, 32. Helen Foster  – Jim's girlfriend, 20s. Edna Chapman  – Jim's eccentric cleaning lady, middle-aged. Terri Pringle  – Jim's personal assistant, early 20s. Bill McGregor  – Jim's boss and International Director, 50s Nancy McGregor  – Bill's wife, 40s Accent Requirements: British accents for most characters. Bill and Nancy McGregor require American accents. Performance Dates: May: 10, 16, 17, 18, 23, 24, 25, 30, 31 June: 1, 2025 Performance Location: Centenary Theatre, Corner of Queenscroft and Halsbury Streets, Chelmer Rehearsal Dates: Preferred days: Mondays, Wednesdays, Saturdays. Warnings:  Some content may include mature themes. Recommended Age:  18+ for cast members. Director : William McCreery-Rye Production Website: https://centenarytheatre.com.au Other Information: Audition forms must be signed and submitted on the day of the audition. All enquiries can be directed to William at willchar04@outlook.com . If not cast, you may express interest in working backstage, tech operations, or front-of-house roles.

Title:   The Perfect Murder Presented By:  Ipswich Little Theatre Society Inc. Genre:  Thriller/Drama Synopsis: A man, fed up with his wife and job, plans to murder his wife in cold blood. However, he soon discovers that he is not the only one with murder on their mind. A thrilling game of cat and mouse ensues. Audition Date:  Monday 3 February 2025 @ 7.30 pm Audition Location and Address:  Ipswich Little Theat re, 15 Burley Griffin Dr, Ipswich QLD 4305 Audition Form Link:   Register Here Available Roles: Victor Smiley (40-50’s)  – A man fed up with his job and wife, deciding to get rid of her. However, he’s not the only one with murder on his mind. He is obsessive-compulsive. Kamila Walcak (20’s)  – A Croatian woman (accent essential) and Victor’s favourite prostitute. Joan Smiley (35-50’s)  – Victor’s wife, who seeks revenge by spending his money. An incorrigible gossip and lover of shopping. Detective Constable Roy Grace (20’s)  – The dedicated detective investigating the case. Don Kirk (40-50’s)  – Joan’s secret lover. A middle-aged, fit taxi driver who loves using cockney rhyming slang. Rehearsal Dates: Rehearsals are usually held in the evenings during the week but can sometimes be on weekends depending on cast availability. Performance Dates: 14 May to 31 May 2025, with matinees on 18 and 25 May. Performance Location: Ipswich Little Theatre Directors: Helen & Ian Pullar

Title : Bluebell – The Musical Presented By : Shine Performing Arts Academy Genre : Family-Friendly Musical Synopsis: This vibrant and original musical tells the story of Bluebell, an Australian bush elf entrusted with a magical flower wand by the Elf Queen. Bluebell is determined to use the wand responsibly to help her friends. However, Axel the fox, alongside his mischievous accomplices, is plotting to steal the wand for his own gain. With larger-than-life characters, colourful costumes, and lively music, this show is designed for young audiences and promises a magical experience for the whole family. Audition Details Audition Dates: Friday 7th February | 4:00 pm – 5:30 pm Saturday 8th February | 9:00 am – 12:00 pm Audition Location and Address: KSP Theatre, Corner of Maitland Rd & Old Bay Rd, Burpengary, QLD, 4505 Audition Requirements: Performers will be taught a short song to sing for the creative team. A small dance sequence will be included, so wear clothes you can move in. Lead roles will involve cold reads from the script, both solo and in small groups. Dance ensemble auditions will include a more technical dance sequence; please dress accordingly. Note: Performers aged 18+ must have a valid Blue Card or proof of application to participate. Audition Registration: Audition Registration Form Audition Pack: Audition Pack Link Available Roles: Axel A cunning fox and the feared antagonist seeking the magical wand. Playing Age: 15+ Spike A sly thorny devil and Axel’s loyal accomplice. Playing Age: 15+ Skellie A clever, food-loving rat and another accomplice of Axel. Playing Age: 15+ Pinky, Violet, and Blossom Mischievous bush elves envious of Bluebell’s new responsibility. Playing Age: 8–15 Bluebell A spirited bush elf tasked with guarding the magical wand. Playing Age: 10–18 Tinsley A small, endearing mouse and one of Bluebell’s closest friends. Playing Age: 10–18 Duggy A humorous wombat with a love for tacos and a loyal friend to Bluebell. Playing Age: 14+ Buttons A sentimental bunny searching for her missing green button and a friend to Bluebell. Playing Age: 14+ Elf Queen A mature and powerful figure who entrusts Bluebell with the wand. Playing Age: 15+ Ensemble Vital in moving the story forward and featured in energetic songs and dance numbers. Playing Age: 8+ Dance Ensemble Performers in large dance sections requiring strong Broadway jazz skills (tap experience is a plus). Playing Age: 8+ Performance Dates: Friday 11th April | 7:30 pm Saturday 12th April | 2:00 pm & 7:30 pm Sunday 13th April | 2:00 pm Performance Location: Burpengary State Secondary College, Pitt Rd, Burpengary, QLD Rehearsal Dates: Fridays (Junior Ensemble): 3:30 pm – 5:30 pm Saturdays (Leads & Featured Ensemble): 9:00 am – 12:00 pm Whole cast rehearsals: Final two Saturdays before tech week. Tech Week: Monday 7th April – Thursday 10th April | 4:00 pm – 8:00 pm Rehearsal Location: KSP TheatreCorner of Maitland Rd & Old Bay Rd, Burpengary, QLD Other Information: Production fee of $120 includes a show T-shirt, script, one free ticket, and other costs. Payment plans are available. Some costume items may need to be provided by performers. Creative Team: Artistic Director: Paula-Mary Camilleri Music Director & Choreographer: Eli J. Ball Director: Teagan Fudge Production Assistant: Lauren Bull

Title:  The Fairy Queen Presented By:  Brisbane City Youth Ballet (BCYB) Genre:  Ballet About: Join BCYB this Winter in the enchanting fairyland of The Fairy Queen , where magical creatures and spirits await to whisk you away on an extraordinary journey. Audition Details: Audition Date:  Sunday, March 2, 2025 Audition Location and Address:  BCYB Studios, Millway St, Kedron Additional Information:  Dancers unable to attend in person may submit a video link as part of their audition. Audition Requirements: Dancers must be aged 7+ to audition. A compulsory audition fee of $22 per dancer must be paid prior to the audition. Audition Registration:   Register Here Rehearsal and Performance Season: Rehearsals  — at BCYB Studios, Kedron: Main Company:  June 28 – July 6 Junior Company:  June 29 – July 6 Petite Company:  June 30 – July 6 Performances  — at Brisbane Powerhouse, New Farm: All Levels:  July 4 – July 6 Costs: Main Company:  $1100 Junior Company:  $990 Petite Company:  $550 Production Website:   BCYB Official Website

Title:  Beans Means Love Presented By:  Outdoor Theatre Community Genre:  Comedy Synopsis: When a mysterious can of beans brings two strangers together, it seems like a perfect recipe for romance. But with a crystal enthusiast, a personified Common Sense, a naive can of beans, and a perpetually confused Greg in the mix, chaos is the only certainty. Performed at both the Moreton Bay and Brisbane Anywhere Festivals, this quirky and heartwarming comedy is sure to delight audiences. Audition Details: Audition Date:  March 1st Audition Time:  Group auditions, 1 hour per session, between 10am–4pm Audition Location and Address:  Lavalla Centre, Room 4, 58 Fernberg Rd, Paddington Audition Requirements: Prepare a 1-2 minute comedic monologue. Be prepared for cold reads and an improvisation activity. Wear comfortable clothes that allow freedom of movement. No gender requirements, but all auditionees must be 16 years or older. Audition Registration:   Register Here Audition Pack:   Download Here If you have questions, email otc.generalenquiry@gmail.com.au Available Roles : All characters are gender-neutral and use they/them pronouns (but can be adjusted to suit the actor). Chad:  A loveable “frat boy” who always follows their heart, even if it means overlooking common sense. Brave, loyal, and extremely romantic. Britney:  A sassy yet ditzy romantic who loves fiercely but falls out of love just as fast. Beans:  A personified can of beans with the innocence and naivety of a young child. Cheerful and oblivious to the absurdity of their world. Common Sense:  The exasperated narrator, embodying their name with no-nonsense wisdom. Crystal Homie:  An over-the-top crystal enthusiast who thrives on vibes, love, and soul-cleansing (for a fee). Greg:  A perpetually confused everyperson who finds themselves in the most bizarre situations. Works every job in town and has no idea how they got there. Impulsivity/Impie:  A personification of impulsive behaviour, eager to impress Common Sense and loathe to work with Caution. Caution/Cau:  A personification of cautionary behaviour, independent and averse to working with Impulsivity. Rehearsal and Performance Season: Rehearsals: Sundays (3pm–8pm) and Tuesdays (6pm–9pm). Fortnightly Sunday rehearsals between seasons. Performance Dates: Moreton Bay Anywhere Festival: May 8–25 Brisbane Anywhere Festival: July 18–August 3

A Magical First for Ballet Theatre Queensland Let me say this upfront: this is a show you do not want to miss. With a limited run, I urge you to secure your tickets before they vanish. A heartfelt thank you to Ballet Theatre of Queensland and Lucas Lynch for the privilege of attending this extraordinary opening performance and the post-show event where we not only celebrated this production’s incredible achievement, but it also unveiled BTQ’s exciting 2026 and 2027 productions. Snow White  draws the audience into a world where enchantment meets artistry. Choreographed by Clare Morehen with a mesmerising original score by Lucas Lynch, this world-premiere ballet marks a monumental milestone in Ballet Theatre Queensland's history. With over 250 creatives, volunteers, and artists collaborating behind the scenes, Snow White  is a breathtaking result of talent, vision, and artistic synergy. The production weaves a traditional fairytale with stunning choreography, brand-new music, and captivating design elements to create a performance that feels simultaneously grand and deeply intimate. While the Concert Hall at QPAC is typically used for orchestral performances, BTQ manages to transform it into a full ballet stage. It’s easy to understand why they chose the Concert Hall—the pipe organ! As someone who has performed on that very stage many times, I can fully appreciate how tricky it must have been for the stage manager Emma Healy and crew to work within such a space. But what they’ve accomplished is seamless and stunning. The orchestra—Cadenza Chamber Players—have an open pit, allowing me to glimpse each one of the remarkable musicians, including the brilliant Lucas Lynch, whose sparkly suit jacket is just as dazzling as his conducting. A Triumph in Storytelling What truly sets BTQ's Snow White apart is its dedication to theatrical storytelling. Under the expert guidance of Clare Morehen and Lucas Lynch, who devoted over 14 months to this labour of love, their collaborative passion and meticulous planning shine through in every scene. It's obvious that every detail has been painstakingly crafted to serve the narrative. The ballet opens with a stirring prologue, plunging the audience into the Grimm-inspired tale. We dive deep into Snow White's backstory, offering a richer understanding of her journey that is often missing from fairy tale adaptations. Ample time is devoted to portraying Queen Lillian and King Frederick’s loving relationship, their life raising Snow White, and even posing for family portraits, until Queen Lillian’s untimely demise (played with true beauty by Lillian Richmond). This leads to the King’s hasty marriage to the dazzling yet dastardly Evil Queen, a development that is given equal attention. The ballroom scene is a real showstopper, with 18 dancers in glittering golden masks and gowns executing a grand, classical routine. Enter Sophia Gougoulas, the mysterious woman draped in black and gold. From her ornate mask all the way down to her noir pointe shoes, she exudes an aura of divinity. As she seizes control of the kingdom, everything seems to darken—the lighting grows dimmer, the music takes on an ominous tone, and the choreography becomes more foreboding. Snow White's "death" and resurrection are staged with extraordinary care, while the finale is a celebration of love, justice, and triumph (accompanied by a breathtaking quick-change costume reveal that I won't spoil!). TALENT: From Young Stars to Seasoned Pros The young dancers of BTQ shine brightly, demonstrating remarkable technique and storytelling abilities well beyond their years. With a cast of 81 dancers assembled from 24 dance schools across South-East QLD, plus choristers from Voices of Birralee, each performer contributes to the production’s grandeur, whether through visually striking ensemble scenes or quieter, emotionally charged moments. From portraying fearful subjects under the Queen’s oppressive rule to embodying playful creatures in the enchanted forest, the cast delivers with professional-level precision and passion. The young Snow White, portrayed by the stunning little dancer Ivy Noonan (role shared with Sarah Oh), is already impressive in both her technical ability and emotional expressiveness. Clad in a delicately soft blue dress, she beautifully conveys the anguish of losing her mother, juxtaposed with the innocent playfulness of her moments shared with young William (played by Ravi Lyndon). The adult Snow White, played by the exquisite Caitlin Volker (role shared with Emma Kim), is everything you imagine the fairest of them all to be. With her elegant demeanour and graceful physicality, she moves with the poise of royalty. Her intricately designed costume and delicate up-do further allow her to radiate the grace and charm of a true princess. Volker's portrayal beautifully captures Snow White’s purity and quiet strength, enchanting the audience with every movement. Her chemistry with adult William (played by guest artist Jordan Lennon) is especially heartwarming, their tender pas de deux a stunning display of connection and love. Lennon’s Act 2 solo is an emotional highlight—his heartbreak palpable as he searches for Snow and reminisces about their shared childhood. Paired with music steeped in longing and tenderness, this moment sent shivers down my spine. Special mention must be made of Sophia Gougoulas (role shared with Zara Strelen), who portrays the Evil Queen with captivating brilliance. Her command of the stage is mesmerizing, with every movement dripping with menace and jealousy. Her exceptional acting fully realizes the Queen’s wrath, as her physicality, the intensity of her gaze, and the choreography all combine to create a truly threatening presence. The other guest artists, Callum Paterson as the Huntsman and Jayden Grogan as King Frederick (Snow’s father), bring a level of polish and professionalism that elevates the production to new heights. Their presence grounds the story with experienced and nuanced character work, creating a harmonious balance between the youthful energy of the ensemble and the refined artistry of seasoned performers. The seven pixies, a delightful reinterpretation of the classic seven dwarfs, were a highlight of the production, bursting with charm and individuality. I won't list all the pixies, as there were a lot of them, but I found the cast I saw on opening night brought so much personality to their roles, enchanting the audience with their playful gestures and expressive mime work. Their colourful costumes—complete with dainty wings, matching ballet shoes, intricate eyeshadow, and whimsical headpieces—add a sense of joy and whimsy to the proceedings. Their scenes with Snow were filled with warmth, brought to life by light choreography and a magical fairy-like score featuring plucked strings and chimes that made you feel like you were in a Disney movie. The senior dancers don skeletal masks that transform them into eerie, otherworldly figures, adding an air of mystique and unease to their presence—while still looking stunning en pointe. Their ability to perform so seamlessly despite the seemingly limited visibility through these masks is a testament to their incredible skill, adding yet another layer to the show’s enchanting magic. Equally impressive is the makeup and wig work on the Queen’s ghoulish minions, which enhances their ominous presence and cements them as unforgettable elements of the production’s dark, gothic aesthetic. A particularly breathtaking moment unfolds in near darkness as Snow encounters the fireflies—the tiniest and most enchanting members of the cast. Bathed in a soft, solitary spotlight, Snow becomes the centrepiece of this magical scene as the fireflies gather around her, their light-up wings and antennae flickering in perfect synchrony with the fairy-like melody of delicate harps and ethereal choral harmonies. It’s one of those moments that makes you feel as though you are part of the magic yourself. CHOREOGRAPHY: Elegance Meets Darkness Now, let’s talk choreography. It’s absolutely divine. Every move is so beautifully executed, thanks to the talented dancers who’ve come together from schools all over South-East Queensland. Clare Morehen’s choreography is a visual feast, vividly contrasting the gentle, romantic movements of Snow White and her allies with the angular, contorted lines of the Evil Queen and her followers. Act One highlights this beautifully, with sharp, regimented choreography portraying the Queen’s tyranny. The military-themed costumes worn by the People of the Realm emphasise her authoritarian rule—a wonderful cohesion between costume and movement. Meanwhile, the forest scenes offer a whimsical reprieve, brimming with the magic of the Pixies and Fireflies. Their lighter, fluid movements transport the audience into a magical realm, where every fluttering gesture seems to sparkle with possibility. The way these characters interact with Snow White is touching, and it’s through these moments of respite in the forest that we see Snow's kindness and warmth shine through. The Masquerade Ball is a standout, blending grand, traditional ballet with narrative progression. When the Queen seizes control, the choreography shifts daringly into more contemporary styles, with sharp synchronised movements and the entire military ensemble incorporating stools into the routine. This electrifying moment, paired with the dramatic swell of music, is utterly captivating. Meanwhile, a massive set piece rolls onto the stage completely unnoticed—more theatrical magic! The production excels in cohesion, with every element meticulously woven together to create a visually and emotionally rich experience. Morehen’s direction ensures that every movement not only reflects the character’s inner world but also tells the timeless story of love, loss, and redemption. Without revealing too much, one of my favourite enchanting moments in this ballet was when Snow and William as children danced to their playful musical motif before leading to a beautiful interaction with the magic mirror. MUSIC: A Unique Masterwork Dr. Lucas D. Lynch’s score is a revelation, echoing the grandeur of traditional ballet while carving out its own unique identity. Performed live by the Cadenza Chamber Players under his expert baton, the emotional depth of the music and its recurring themes create a rich sonic tapestry that continually drives the narrative forward. His compositions manage to balance classical elegance with contemporary sensibilities, seamlessly shifting between romantic waltzes and ominous motifs. The inclusion of the Voices of Birralee choir adds a haunting, ethereal layer to the music, enriching pivotal scenes like the Dark Forest and Snow White’s requiem. The choice of venue became even more apparent when the Concert Hall’s pipe organ made its entrance in the score. Though hidden behind curtains, its majestic sound added depth to Lynch’s exquisite compositions, perfectly tailored to every moment on stage. From the beginning, the score establishes a mysterious, fairytale atmosphere with chimes and lush strings as Snow White's parents share a tender dance with their daughter. The scene quickly turns tragic as Snow’s mother fades away. The sorrowful cello and piano swell into a powerful orchestral crescendo, delivering an emotional punch that sets the stage for the drama to follow. One of the most striking elements of Snow White  is its attention to detail. Lynch crafted Snow White’s theme with a romantic and sweet melody to mirror her kindness, whereas the Evil Queen’s theme—introduced as soon as she gazes upon Snow in the mirror—recurs as her malice intensifies. As the set rotates, revealing the witch's lair on one side and the forest cottage on the other, Snow travels through a dark forest enhanced by veiled dancers and the deep resonance of the organ, building to the dramatic showdown between the huntsman and William. Snare drums introduce the seven pixies, while plucked strings and chimes enhance the magical atmosphere of the cottage, filled with plenty of 'aww' moments. A singular voice and strings mark the poignant moment of mourning as Snow White succumbs to the poisoned apple. But the moment Snow White awakens from her enchanted slumber is nothing short of magical, thanks to the gorgeous choral arrangements and lush orchestration that deliver a truly cinematic experience. SET, SOUND, LIGHT, COSTUME: Designs That Transport The magic of the production lies not only in its grand gestures but also in its intimate details. For example, the dancers illuminating Snow’s coffin to guide William to its location, or the sound of dripping water in the witch’s lair, or the light from the fireflies’ wings and antennae syncing with the music. Even the glitter confetti used as bathwater for the pixies adds to the whimsical charm! Bill Haycock’s set design elevates the production by transitioning between contrasting worlds. Shimmering fabrics hang above, imparting a sense of grandeur without overwhelming the space. The iconic magic mirror is given a literal and metaphorical twist when it shatters, revealing another dancer as the Queen’s reflection (played by Katie Holman), and the Queen performs a striking pas de deux with herself – a stunning portrayal of vanity. The light reflecting off the shattered mirror fragments, held by the ghoulish figures, creates a blinding, hypnotic effect. The use of lighting by Glenn Hughes plays a pivotal role in blending these worlds, shifting between the stark, colourless tones of the Queen’s realm and the ethereal, vibrant glow of the Pixies’ forest. Wil Hughes' sound design is also superb, crafting a strong sense of danger and magic—especially with the whoosh of spells being cast and the brain-tingling sound of the mirror shattering. Rebekah Ellis’s costumes are works of art—each piece meticulously crafted to convey the personality of the characters and the tone of the scenes, not to mention that her team ensured that every costume was custom-made to fit the dancer perfectly. Snow White’s soft, flowing garments communicate the purity and gentleness of her character, contrasting with the regal yet sinister designs of the Evil Queen’s wardrobe. The woods are dark and mysterious, illuminated in purples and greens, with dancers in black moving like shadows of branches in the forest. The costume quick-change reveal at the end is breathtaking, accompanied by falling petals—truly unforgettable. Sarah Smith works her magic with makeup, transforming the characters into living, breathing elements of the fairytale, while Michael Green’s incredible wigs complement the character transformations beautifully. CONCLUSION Ballet Theatre of Queensland has delivered a truly magical production in Snow White . Every performer, from the youngest dancers to the senior ensemble, shone brightly. Queensland is brimming with incredible dance talent, and BTQ has proven they are at the forefront of showcasing it. The passion and care that Lucas, Clare, and the entire BTQ team have put into this production are evident in every moment. Snow White  is a dazzling reminder of the magic that can happen when music, dance, and storytelling unite. With visionary choreography, a captivating score, and stunning designs, this production does what only the best stories can do: it transports the audience to another world. From the first dramatic note to the final, uplifting moment, it is a performance that engages both heart and mind. This production represents a significant achievement for BTQ and the Australian arts community. It's a rare privilege to witness a brand-new ballet with an original score, and I feel fortunate to have experienced its debut. This was my first BTQ production, and it definitely won't be my last, with Cinderella  coming later this year, Alice in Wonderland  (original score by Lucas Lynch) in 2026, and a brand-new ballet of Snugglepot  and Cuddlepie  in 2027. Snow White  already holds a special place in my heart, and BTQ’s adaptation has far exceeded my expectations. I wholeheartedly recommend it as a magical journey through one of the most beloved fairytales. Photography: Quince & Mulberry

Title:  Alistair in Wonderland Presented By:  Katz Acting Academy Genre:  Musical Theatre Synopsis: The Queen of Hearts has demanded a rematch with Alice on the croquet lawn, but instead of fetching the girl back to Wonderland as instructed, the easily muddled Dormouse has returned with a very confused boy named Alistair. Luckily, Alice has also arrived, having learned of the Queen’s summons from the Cheshire Cat, and it becomes her mission to get Alistair safely home while also enjoying a new adventure herself. Audition Date: Saturday 1st February 2025 Sunday 2nd February 2025 (Callbacks if required) Audition Time: Saturday: 11 am to 1 pm Sunday: 11 am to 1 pm Audition Location and Address: Saturday: Picabeen Community Centre, 22 Hoben St, Mitchelton QLD Sunday: Venue TBA Audition Requirements: Prepare a short song (approx. 1 minute) in the style of Disney/Pop/Musical Theatre. Accompaniment must be a backing track on a device with Bluetooth capability or USB (no a cappella or sheet music). Wear comfortable clothing for a short dance routine. Be prepared for cold reads from the script. Audition Registration:  Complete your audition form here: Audition Form Available Roles: Performers of all ages, genders, abilities, backgrounds, and ethnicities are welcome to audition. Some roles may be doubled. Roles include: NARRATOR: Optional MOTHER:  Maternal but firm in a timeless, motherly way. FATHER:  A proper but gentle father with a teasing manner. ALISTAIR:  A spirited boy who’s open to adventure. DORMOUSE: Childlike and funny with a desire to please others. WHITE RABBIT: Anxious and burdened by a strong sense of responsibility as well as a genuine fear of the Queen. HARE: Sardonic and dry with a penchant for winding the Rabbit up. HATTER: Zany and unaffected by whatever excites other around her. ALICE:  More mature than she was in her first two visits to Wonderland, she falls easily into the role of guide and cautionary companion to Alistair. CHESHIRE CAT: Wise and confidant, showing up when needed and readily commenting on the activities of Wonderland’s citizens. CATERPILLAR: Direct descendent of a famous chain-smoker, this caterpillar has the much healthier habit of juggling. BILL the LIZARD: Still sore about his earlier experiences with Alice. DODO: Bossy emcee of the caucus race with a distinctive vocabulary. TWEEDLE-DUM: Dee’s comic friend. Together, they stir up trouble for Alistair. TWEEDLE-DEE: Dum’s comic friend. Together, they stir up trouble for Alistair. GRYPHON: A gentle and solicitous friend to all, particularly the Mock Turtle. MOCK TURTLE: Humble and self-effacing soul who thinks the best of others. QUEEN of HEARTS: As two-dimensional as a playing card: shrill, bossy, driven. KING of HEARTS: Bumbling and ever after claiming his own agency. CARD 5: Servant to the Queen. LORY: Dances at the cotillion. DUCK: Dances at the cotillion. EAGLET: Dances at the cotillion. CARD 7: Announces at the trial. Rehearsal Dates: Commence: Thursday 6th February 2025 (First read-through and information session) Regular rehearsals: Tuesdays and Thursdays from 7 pm, Sundays from 10 am – 3 pm Technical and dress rehearsals: Saturday 5th, Sunday 6th, and Monday 7th April 2025 Performance Dates: Wednesday 9th April – Saturday 19th April 2025 Performances include daytime and evening shows during the school holidays. Possible performances on Good Friday and Easter Saturday. Venue: TBA Recommended Age:  All ages Crew: Directed by: Sandra Harman Musical Direction by: Natalie Mead Production Website:   KATZ Acting Other Information: This is an unpaid opportunity. Everyone must be available for most rehearsals, all of production week, and all performance dates. For further details or enquiries, please email alicekatz4053@gmail.com.