Title: Jesus Christ Superstar Presented By: Redcliffe Musical Theatre (RMT) Genre: Rock Opera / Musical Theatre / Drama Synopsis: Jesus Christ Superstar is the iconic rock opera by Andrew Lloyd Webber and Tim Rice, reimagining the final days of Jesus Christ through the eyes of Judas Iscariot. A timeless fusion of rock music and biblical storytelling, it captures the emotional and political turmoil of Jesus’ last week on Earth, exploring fame, betrayal, and faith in a modern context.Originally debuting as a concept album before taking Broadway and the West End by storm, Superstar remains one of the most powerful and provocative musicals ever written — raw, human, and electrifying from start to finish. Audition Dates: Saturday 25 October 2025 (by request) Tuesday 4 November 2025 Wednesday 5 November 2025 Sunday 9 November 2025 Audition Time: Sat 25 Oct – 11:00am to 12:30pm, 12:30pm to 2:00pm (by request) Tue 4 Nov – 7:30pm to 9:00pm Wed 5 Nov – 7:00pm to 8:30pm, 8:00pm to 9:30pm Sun 9 Nov – 12:00pm to 1:30pm, 1:30pm to 3:00pm, 3:00pm to 4:30pm Audition Location and Address: Theatre 102, 102 Anzac Avenue, Redcliffe QLD Audition Self-Tape Due (if applicable): Video submissions accepted for vocal auditions only (dance calls must be in person). Audition Requirements: Prepare: A 1-minute cut of a song from Jesus Christ Superstar and a 1-minute song in a similar style to Jesus Christ Superstar Each session includes a group dance call (at start or finish). Wear clothing suitable for movement. Bring your own sheet music or backing track. Must be 16 years or older (unless currently a ROAR Academy student). Attach a CV and headshot when registering. Audition Registration: Complete the registration form via Redcliffe Musical Theatre – Jesus Christ Superstar or email info@redcliffemusicaltheatre.com with your preferred session, CV, and headshot. Audition Pack: Download the Full Audition Pack (PDF) Performance Dates: Thursday 5 March 2026 – 7:30pm Friday 6 March 2026 – 7:30pm Saturday 7 March 2026 – 2:00pm & 7:30pm Sunday 8 March 2026 – 1:00pm & 6:00pm Performance Location: Redcliffe Entertainment Centre, Downs Street, Redcliffe QLD Rehearsal Dates: TBA – rehearsals will take place at Theatre 102, Redcliffe. Warnings: Religious themes, adult subject matter, and strong emotional intensity. Performer Age: 16+ (unless ROAR Academy student) Creative Team: Producer/Director – Madeleine Johns Music Director – Rhonda Davidson-Irwin Choreographer – Jill Rowlands Band Leader – Lachy Stewart Production Website: www.redcliffemusicaltheatre.com Available Roles / Character Breakdown: Jesus Christ – Male, 20–35, Tenor (A2–G5) Leader of the disciples; struggles with destiny and divinity. Strong emotional and vocal range. Judas Iscariot – Male, 20–40, Tenor (D3–D5) Tragic antihero torn between faith and fear. Powerful, expressive vocals required. Mary Magdalene – Female, 20–35, Mezzo-Soprano (F3–E5) Gentle, compassionate follower of Jesus. Performs “I Don’t Know How to Love Him.” Pontius Pilate – Male, 30–50, Tenor (A2–B4) Governor conflicted between duty and conscience. Commanding presence. Caiaphas – Male, 30–50, Bass (C2–F4) High priest threatened by Jesus’s influence; deep, resonant voice. Annas – Male, 20–40, Countertenor (G2–D5) Caiaphas’s scheming ally. Smooth yet sinister. Simon Peter – Male, 20–40, Baritone (A2–G4) Loyal disciple who falters under pressure; sincere and human. Simon Zealotes – Male, 20–30, Tenor (G3–B4) Fiery revolutionary; passionate and energetic. King Herod – Male, Any Age, Baritone (C3–G4) Showman with comic flair and decadence. Apostles – All genders, 16+, all vocal rangesFollowers representing diverse backgrounds and beliefs. Ensemble – All genders, 16+, all vocal ranges. Portray various characters including priests, citizens, lepers, and Herod’s court. Strong vocal and physical performers encouraged.

Title: Shining Bright: A Second Star Christmas Presented By: Second Star Youth Theatre Genre: Christmas Concert / Musical Theatre / Family Synopsis: Shining Bright: A Second Star Christmas is a festive celebration showcasing some of Brisbane’s most talented young performers! Featuring a glittering mix of traditional carols, contemporary Christmas favourites, and uplifting musical theatre numbers, this heartwarming concert embodies joy, hope, and community. Tailor-designed to highlight each performer’s individuality, the show promises a night of sparkling voices and holiday magic — all in the true spirit of Christmas. Audition Date: Video submissions due Saturday 22 November 2025 Audition Requirements: Open to young performers aged 10–18 (as of 19 December 2025) Submit two contrasting 40–60 second songs that fit one or more of the show’s themes: Traditional Christmas carol Modern/pop Christmas song Musical theatre number related to hope, joy, shining, or community Perform with full performance energy — there is no separate dance or acting audition. Songs may be sung a cappella or with an accompaniment/instrumental track. Optional audition song suggestions include: A Million Dreams (The Greatest Showman) I See Stars (Mean Girls) It’s Beginning to Look a Lot Like Christmas Let It Go (Frozen) SparkleJollyTwinkleJingley (Elf: The Musical) We Need a Little Christmas (Mame) Audition Registration: Pre-Register Here (Google Form) Audition Pack: Full Information via Linktree Performance Date: Friday 19 December 2025 (7:00 pm) Additional 5:00 pm show may be added if needed Performance Location: Faith Works Uniting Church, 177 Bennetts Road, Norman Park, QLD Rehearsal Dates: Wednesday 17 – Friday 19 December 2025 Rehearsal Times: 9:00 am – 4:00 pm daily Some performers may not be required for the full rehearsal period; a detailed schedule will be shared after casting. Performer Age: 10–18 years (as of 19 December 2025) Production Website: Second Star Youth Theatre Linktree Other Information: Participation is completely FREE! This includes all performance and skill development opportunities. Performers are to BYO performance outfit — semi-formal/cocktail attire in blue, green, silver, white, or black (please avoid all-black outfits). Due to space limitations, casting is selective; not all auditionees will be cast. Selected performers will receive materials and tracks in advance to prepare solos prior to rehearsals. Available Roles / Character Breakdown: This is a showcase-style concert — no fixed characters or roles. Soloists – singers selected for key songs Small groups / duets Ensemble

Title: The Cliffnotes of Insanity: The Princess Bride in Under an Hour Presented By: Brisbane Arts Theatre Genre: Comedy / Parody / Dinner Theatre Synopsis: The Cliffnotes of Insanity is an uproarious, lightning-fast retelling of The Princess Bride — the beloved fairytale of fencing, fighting, true love, and high adventure — all performed in under an hour! Expect cabaret-style hilarity, daring duels, miracle cures, and witty one-liners as this cult classic is reimagined through madcap performances and absurd theatrical flair. Featuring a live three-course “Feast of Florin,” trivia challenges, and a costume competition, this dinner theatre experience is truly inconceivable! Audition Date: Sunday 26 October 2025 Audition Time: 11:00am – 4:00pm (one-hour slots) Audition Location and Address: Lavalla Centre, Paddington QLD Audition Requirements: Open to all actors aged 18+ Prepare a one-minute comedic monologue (familiarity with The Princess Bride humour is an advantage) Group workshop-style audition with up to 10 participants per session Expect improv and movement exercises during the audition Actors may be cast in multiple roles or ensemble parts Audition Registration: Register Here Audition Pack: Download PDF Performance Dates: Wednesday 17 December 2025 Thursday 18 December 2025 Friday 19 December 2025 Performance Times: 7:00pm nightly (plus possible 1:00pm matinee on 19 Dec) Performance Location: Arcana – Empress Theatre, 46 Evesham Street, Moorooka QLD Rehearsal Dates: Commence Tuesday 4 November 2025 Rehearsal Times: Tuesdays & Thursdays – 7:00pm–9:30pm, Sundays – 3:00pm–8:00pm Warnings: Mild adult humour, parody violence, and audience interaction. Performer Age: 18+ only Creative Team: Director – Adelle O’Connell, Assistant Director – Amanda Lay, Production Manager – Siobhan Delgado Production Website: www.artstheatre.com.au/the-cliffnotes-of-insanity Other Information: This is a dinner theatre event, including a 3-course themed meal and live cabaret. Cast must be available for tech week (15–16 December) and all performance dates. Rehearsals held at the Lavalla Centre (Paddington); performances at Arcana (Moorooka). Open to performers of all genders, ethnicities, and backgrounds. Available Roles / Character Breakdown: (All roles are flexible; doubling may occur. Ages listed are playing range.) Narrator/Grandfather (M, older) – Wry, commanding storyteller guiding the audience through the chaos. P.A. / Mother (F, any age, agile) – Quick, witty, and ready to pivot between nurturing and chaotic. Son (M, younger, 18+) – Modern, sarcastic foil to the story’s madness. Westley / Dread Pirate Roberts (M, 20s–30s) – Heroic, charming, and endlessly quotable. Princess Buttercup (F, 20s–30s) – Romantic and regal, with a flair for comedy. Vizzini (M, any age, agile) – Over-the-top criminal mastermind; expert in being inconceivable. Fezzik (M, any age, agile) – Giant-hearted gentle giant; comedic physicality encouraged. Inigo Montoya (M, any age, agile) – Passionate swordsman seeking revenge — and punchlines. Prince Humperdinck (M, 20s–30s or older) – Villainous, melodramatic, and self-important. Count Rugen (M, any age) – The sinister six-fingered man. Miracle Max (M, older) – Eccentric and hilarious; master of chaotic magic. Valerie / Clergy (F, older) – Sharp-tongued and quick-witted comic powerhouse. Albino (M/F, any age) – Creepy yet oddly endearing dungeon dweller. Redshirt (M/F, any age) – Flexible ensemble role; comic timing and versatility key.

Katie is a Marker Sniffing Lesbian Presented by Backbone Theatre as part of the Look Up Festival Created by East and Under Theatre Company Playwright / Set & Costume Designer: Ada Lukin Director:  Indiah Morris Producer / Lighting Designer:  Madelyne Leite “Brand new week, same criminal life. I can hardly remember what it’s like to be a loser.” There are few things more terrifying than being seventeen in a Catholic school blazer. Then there is being seventeen, queer, academically gifted, slightly lame… and running a glow-in-the-dark sharpie drug empire from the school bathrooms.   Katie is a Marker Sniffing Lesbian  is a fiercely funny coming-of-age play about ambition, obsession, reputation, and the quiet panic of not fitting into the box you were told to live inside. It is theatre built by women, fuelled by dark humour, and powered by the kind of high school stakes that feel like life or death when you are in them.   Katie is on track to becoming school dux. Straight A’s. Writing assignments for cash. Socially awkward... When she began selling faulty glow-in-the-dark Sharpies from her Officeworks job, (with fumes that happen to give students a temporary high), what starts out as a low-stakes side hustle quickly spirals into something much bigger. Friendships blur. Gossip spreads. Hallucinations of Florence Nightingale appear.   From the instant Ada Lukin emerged through an actual hole in the theatre wall and climbed down a ladder into the Ron Hurley Theatre, (which I had somehow never noticed before), I could tell this was going to be clever, unexpected, and a little rebellious. Ada carried this piece with astonishing presence. As playwright, designer, and lead actor, the voice of the show was unmistakably hers. Witty, sharp, self-aware, and unexpectedly tender. Ada plays Katie as the classic endearing, over-eager dork who is desperate to be cool. Ada's asides to the audience were swift and surgically funny, and even her tiniest facial expressions landed huge laughs. The narration style felt conversational AND confessional. It felt like we were not just watching her spiral, we were inside her brain. In the quieter moments her performance really landed. The panic attacks, the paranoia fuelled by the fumes, the heartbreak of being outed. I was completely riveted.   Madelyne Leite as Miranda played the intimidating queen bee. The girl with dirt on everyone. Introduced like a storm cloud, Leite played her with authority, but there were flickers of vulnerability underneath the manipulation. We all knew a Miranda in high school. Her performance balanced dominance with cracks of insecurity like: “I think I need to see a therapist or something.” I did occasionally wish her vocal projection cut through the music a little more clearly, but her character work was sharp and specific. Alisha O’Brien as Lydia, the golden netball captain who is always busy, felt like the emotional heart of the piece. Her chemistry with Ada was electric and had the audience squealing and kicking their feet. The small talk about netball, (Katie’s painfully awkward version of flirting), was both hilarious and achingly sweet. The romance felt fluttery, nervous, and very real. Alisha's monologue venting about girls and pressure was a standout moment. Beneath the sporty exterior was a young woman buckling under parental expectation and the weight of constant achievement.   Ellen Hardisty’s Florence Nightingale apparition added a streak of magical realism. It was absurd and hilarious, yet thematically clever, especially given the school assignment and the question quietly sitting underneath it all: Was Florence Nightingale gay?!  Her role as the teacher leaned into chaotic adult hypocrisy. One of my favourite theatrical moments was the teacher using the classroom projector, only for us to see every open tab on her laptop: Tinder, BuzzFeed articles, unhinged Google searches. It was wickedly funny and a perfect example of how this production layered humour without overplaying it.   The script by Ada Lukin captured the intensity of high school life. The way gossip can spread like wildfire. The way reputation feels permanent. The way ambition can morph into unhealthy obsession. Plus, the Catholic undertones were ever-present. The pressure to conform. The fear of being seen as “wrong.” Sniffing the marker became more than rebellion. It was courage in a sniff. Or maybe delusion in fluorescent ink. They became status symbols, weapons, and metaphors.   The set (also by Ada) was a simple school dunny, a makeshift classroom, and a projection setup. Under Madelyne Leite’s lighting design, especially the bold use of blue and black lights, it genuinely glowed . The unsettling, Wii-like soundscape paired with bursts of club music when the girls got high created a sensory shift that mirrored everyone's spiralling minds. The giggling euphoria gave way to paranoia, nausea, and panic.   Indiah Morris’ direction allowed absurdity and honesty to coexist without either overpowering the other. When Katie was outed, the shift in the room was palpable. The audience, who had been laughing all night, went completely still. That is the magic of this piece. It was riotously funny, but it knew exactly when to land the emotional punch. Transitions were slick. The choreography was chaotic in the best way. Blocking was purposeful. The pacing never lagged for me. If anything, I would have happily stayed in this world longer. The audience was hooked, reacting audibly to every aside, every reveal, every twist. That kind of collective energy in the theatre is rare and so rewarding.   Katie is a Marker Sniffing Lesbian  exploded the neat little box of Catholic schoolgirl expectation and replaced it with glowing ink, panic attacks, queer longing, and Florence Nightingale. It is theatre for anyone who has ever felt like the odd one out in a school blazer. I would watch it again in a heartbeat.

Photography by Creative Street “Cause life is short and life is hard, so I don't care how… no more wasted time.” What if one tiny decision -- a subway stop, a phone call, a yes or a no -- could send your life hurtling down a completely different path? That’s the central question of If/Then , the moving and musically masterful Broadway musical, brought to life by VOX Theatre Arts at Arcana’s Empress Theatre. Isaac Brown (Lucas), Sam Sherrin (Elizabeth), Lisa Alsop (Kate) Through two intertwining storylines, If/Then  explores how one woman’s choices can shape not just her own future but the lives of everyone around her. Recently divorced and back in New York City to start over, Elizabeth’s life splits in two directions: Liz finds love with an army doctor named Josh, while Beth builds a high-flying career alongside her old friends Stephen and Lucas. The show follows both timelines simultaneously, each equally moving, messy and utterly human. Samantha Sherrin (Beth), Dom Bradley (Stephen) So grab a drink and some food at the bar beforehand, settle in and prepare to question all your life choices!   Brisbane Talent at Its Best VOX Theatre Arts has struck gold with this cast, led by the incomparable Samantha Sherrin . I don’t know how they managed to gather this group, but Brisbane should count itself lucky. Front and centre is Sam, giving a masterclass in endurance, emotion and a voice that just doesn’t quit. She takes on one of the most demanding roles in contemporary musical theatre — Elizabeth (or Liz… or Beth) — and does it almost entirely without leaving the stage. Physically and emotionally, she is constantly shifting gears, flipping between two parallel lives. One moment she’s the hopeful, romantic Liz; the next, the driven, pragmatic Beth. Samantha Sherrin (Liz) Sam makes us chuckle through ' What the F * ck' , devastates us during ' I Hate You' , and has us openly weeping by Act 2. Her rendition of ' Learn to Live Without'  is aching. She’s crying, we’re crying, the band is probably crying... it's the kind of performance where you can hear the audience (and the producer) sniffling into their programs. Then she roars into ' Always Starting Over' , a five-minute power ballad that demands every ounce of breath and bravery. Even when overcome with real tears and fury, every note rings out with immense precision and power, and Sam's acting is overwhelmingly real. It’s a fearless, emotionally charged performance and easily one of the finest you’ll see on a Brisbane stage this year. Cameron Rollo (Josh), Samantha Sherrin (Liz) Cameron Rollo  is the yin to her yang as Josh, the adorably awkward army medic whose chance encounter changes everything. Endlessly likeable, he’s sweet, sincere and quietly magnetic; the perfect counterbalance to Sam’s whirlwind energy and a steady anchor for Liz’s story. There’s a natural ease to his performance, grounded in honesty and never overplayed, his acting is full of small, truthful moments that draw you in. Every scene feels spontaneous, every glance full of intent, every reaction genuine. It’s hard not to melt a little during his solo ' You Never Know' , while ' Hey Kid'  delivers one of the night’s sweetest moments. Watching Josh grow from bashful flirt to devoted partner is genuinely moving, and his relationship with Sam is pure magic. When the two duet ' Here I Go' , it’s chemistry in its purest form: two people trusting the leap. Samantha Sherrin (Liz), Cameron Rollo (Josh) Isaac Brown (Lucas), Samantha Sherrin (Beth) Isaac Brown  brings both spark and soul to Lucas, the gossip-loving activist with a heart of gold and a knack for saying the wrong thing at the wrong time. He lights up every scene he’s in, slaying the cheeky ' Ain’t No Man Manhattan'  with sass and charisma before pulling the rug out from under us with the heartbreakingly tender ' You Don’t Have to Love Me' . His comic timing is razor-sharp, and the audience laps up every quip and side-eye. Paired with Jackson Muir  as David, the gentle and grounding doctor, their chemistry is beautiful to watch. ' Best Worst Mistake'  is one of the show’s loveliest duets, capturing the thrill and risk of new love. And Jackson’s solo ' What Would You Do'  absolutely floored me. It’s a fragile pause in the noise, aching with the kind of empathy that lets you feel every ounce of loss between the notes. Isaac Brown (Lucas), Jackson Muir (David) Micheal Enright (Anne), Lisa Alsop (Kate) Lisa Alsop  shines as Kate, Elizabeth’s fiery, loyal, and quick-witted best friend, finding the perfect balance between comedy and compassion. In ' It’s a Sign' , she gleefully embarrasses Liz on the subway with a performance bursting with mischief and killer vocals. Opposite her, Micheal Enright  matches that energy beautifully as Anne, Kate’s partner. They deliver some of the best one-liners of the night and radiate an easy energy that’s impossible not to adore. Together, Lisa and Micheal shine in ' Love While You Can' ; a beautiful ode to everyday love that’s messy, imperfect, and entirely heartfelt. The two even manage to belt through tears, a testament to their emotional commitment and vocal control. Ryan Bascle, Isaac Brown (Lucas), Dominic Bradley (Stephen) Sam Sherrin (Beth), Dom Bradley (Stephen) Dominic Bradley  as Stephen walks the fine line between charming and infuriating as Elizabeth’s boss... the kind of character you love to hate. There’s a confidence and humour to his performance that makes Stephen endlessly entertaining. He leads ' A Map of New York'  with passionate vocals, steering the chaos with a wink and a grin. Amiel Morris  shines in her debut as Elena, the eager intern who enters halfway through and quickly becomes Beth’s moral compass and mirror. Their scenes together are quietly touching; you can sense Beth recognising herself in her — all that idealism, curiosity, and conviction — and it’s a lovely, bittersweet reminder of how time changes us. Amiel Morris (Elena), Lisa Alsop (Kate), Sam Sherrin (Beth) The ensemble — Mark James, Molly Parker, Casper Haringcaspel, Ryan Bascle, Alicia Brite,  and Sam Hancock  — breathe life into New York City. They become subway commuters, wedding guests, parkgoers, baseball fans, you name it! Sometimes wistful, always purposeful, they keep the city’s pulse alive from start to finish as the background blur always in motion. Special mention to Mark James as the overzealous Deputy Mayor, Molly Parker as the tender-hearted Cathy, and Casper Haringcaspel for delivering the unforgettable “Today a pigeon shit right on my head” with perfect comic timing. This supporting ensemble — joined by Amiel, Jackson, Dom,  and Micheal  — juggle multiple characters, accents and quick changes (often literally swapping hats). Their adaptability and energy give the show its heartbeat, ensuring every transition feels alive and every moment, however fleeting, feels full. Worlds collide as Elizabeth turns 39 in 'Surprise' Lisa Alsop (Kate)   Musical Firepower This is not a score that could ever be done justice with tracks, and Alex Angus  (Music Director) and Erin Power  (Assistant MD) deserve medals for shaping its intricate layers. The 13-piece orchestra is a star in itself, navigating wild rhythms, relentless key changes and eight-part harmonies with near-perfect command. Front-staged and fully visible, the band feels woven into the storytelling; a part of the heartbeat of the city rather than hidden behind it. The microphones hold up surprisingly well, letting (most) of the vocals soar without being lost under the orchestra’s drive. The harmonies in ' No More Wasted Time'  (Samantha, Lisa, Micheal, and Amiel) are jaw-dropping! Four powerhouse voices blending like thunder and silk; I could listen to it over and over again. ' Surprise'  and ' Map of New York'  are masterclasses in organised chaos, while the gospel-infused ' This Day / Walking by a Wedding'  will have you fighting the urge to stand and clap along. While a few songs sat slightly under tempo and the timing wavered here and there, that’s just the growing pains of a preview. Honestly, this is a no-skip cast album come to life! Directing with Heart In a story built on duality, Hayley Gervais  finds the thread that ties it all together: heart. Her direction keeps both timelines distinct yet emotionally intertwined, allowing audiences to follow the complexity without ever feeling too lost. Ruby Thompson’s  choreography and Hayley’s blocking shine in the ensemble scenes, capturing the bustle and rhythm of Manhattan life. It’s thoughtful, cohesive storytelling from a creative team who clearly understand the heart of the show. George Pitt’s  lighting design (shifting between red and blue) is the unsung hero, giving instant timeline clarity without ever feeling gimmicky. Costume choices further define the split realities (Liz’s maroon cardigan and glasses, Beth’s navy blazer) to make each version of Elizabeth instantly recognisable. Costumes were largely sourced by the cast themselves, and it shows; everyone looks comfortable and natural in their roles. I also love that half the cast wear warm tones and the other half cool -- a subtle visual cue that pops beautifully in numbers like the opening ' What If' . And a special shoutout to Wendy Makin Bridal Designs for donating the gorgeous wedding dress! Cameron Rollo (Josh), Sam Sherrin (Liz) Given Arcana’s compact space, the minimalist set is the obvious choice, keeping the focus where it belongs: on the characters and their lives. Scene transitions are generally slick, maintaining the story's agility, which is precisely what’s needed in a show that continually shifts and reshapes itself. Finally, a huge shoutout to the behind-the-scenes helpers who quietly came to the rescue whenever needed — sourcing props, building makeshift wings, providing sound gear, and asking nothing in return. That spirit of generosity and teamwork is exactly what makes this production, and this community, so special. Full ensemble in 'Aint No Man Manhattan' The Choices That Shape Us This isn’t your average boy-meets-girl musical. If/Then  is about everything: marriage and divorce, friendship and careers, chance meetings, lucky breaks, bad dates, the pressure of time, the cruelty of loss, and the comfort of chosen family. As one song reminds us: “See each choice you make, it’s a kind of a loss, Each turn that you take and each coin that you toss. You lose all the choices you don’t get to make, You wonder about all the turns you don’t take…” Cameron Rollo (Josh), Samantha Sherrin (Liz) This show that leaves you reflecting on your own what-ifs and the bittersweet truth that while we can’t live both timelines, we always have the power to choose how we live this one. With powerhouse vocals, emotional storytelling, and a score that demands to be heard live, If/Then  is the kind of rare Broadway gem Brisbane audiences don’t often get to see. VOX Theatre Arts delivers a show that’ll have you laughing and crying, while gently reminding us that life has a way of leading us exactly where we’re meant to go. Yes, there may be plenty of shows in Brisbane this October, but let me make this decision easy for you: If/Then  is a choice you won’t regret. TICKETS : Performances:  October 10–11, Arcana Empress Theatre, Moorooka.   Photography by Creative Street Photography Full ensemble in 'Walking By a Wedding/This Day' Lisa Alsop (Kate), Samantha Sherrin (Elizabeth), Isaac Brown (Lucas)

Title: GLOW Cabaret: Duos and Trios Presented By: Phoenix Ensemble Genre: Cabaret / Variety / Musical Theatre Synopsis: Are you part of a dazzling duo or a talented trio? GLOW Cabaret: Duos and Trios celebrates the magic of collaboration — showcasing performers who shine together through harmony, humour, and heart. Whether you’re bringing powerhouse vocals, comedic timing, or creative flair, this cabaret invites you to team up and take the spotlight on the Phoenix Ensemble stage. Audition Requirements: Application now open to duos and trios of all styles and genres. Performers must complete the online application form. Prepare two songs — list title and show for each. Upload a headshot for marketing purposes. Provide a video audition link (can be any previous performance; not necessarily the chosen piece). Returning GLOW performers do not need to resubmit a video. Select preferred sound check times prior to the 7:30pm performance. Audition Registration: Performer Application Form Performance Dates: 25th October Performance Times: 7:30pm Performance Location: Phoenix Ensemble, Beenleigh Showgrounds QLD Rehearsal Dates: Self-organised Warnings: Family-friendly cabaret; content should be appropriate for a general audience. Production Website: www.phoenixensemble.com.au Other information: Open to all performance styles: musical theatre, pop, comedy, jazz, contemporary, and more. Collaboration encouraged — create an act that showcases chemistry, creativity, and stage presence. Sound check and tech support provided prior to showtime. Available Roles: Open casting — all genders and vocal types welcome.

Title: Tarzan – The Musical Presented By: Spotlight Theatrical Company Genre: Family / Adventure Musical Synopsis: Based on Edgar Rice Burroughs’ classic story and Disney’s animated film, Tarzan follows a young boy who is orphaned on the West African coast and raised by a family of gorillas. As he grows, Tarzan struggles to find his place between two worlds—animal and human—until the arrival of Jane Porter changes everything. With a powerful score by Phil Collins and stunning choreography blending acrobatics and jungle-inspired movement, this musical explores love, identity, and belonging in a breathtaking, high-energy production. Audition Date: Video submissions due Friday 17 October 2025, 11:59pm Dance Call & Callbacks: Monday 20 October 2025 Dance Call: 6:30pm – 8:30pm Callbacks: 8:30pm – 10:00pm Audition Location and Address: Southport Community Centre, Gold Coast QLD Audition Requirements: Vocal Video submission required for all applicants. Upload via YouTube, Google Drive or Dropbox (ensure visibility). Tarzan: “Everything That I Am” (from 1:56 “Is this my family?” to end) Jane: “Waiting For This Moment” (from 1:57 “There’s something strangely…” to end) Kala: “You’ll Be In My Heart” (full song) Young Tarzan: “I Need to Know” (start to 2:05) Clayton: 1–2 minute Disney villain monologue or villain song (max 2 mins) All other roles/ensemble: Any Disney Broadway song (max 2 mins) that showcases range and personality. Dance Call: All auditionees for Tarzan, Jane (callbacks), Terk, Young Tarzan, Leopard and Ensemble must attend. 6:30–7:30pm: Tarzan, Terk, Young Tarzan, Leopard, Ensemble 7:30–8:00pm: Leopard tricks and advanced movement 8:00–8:30pm: Jane callback dance Grounded contemporary jazz style with funk and acrobatic influence. Wear flexible clothing and dance shoes; bring water. Please note any injuries (particularly knees or back). Audition Registration: Email completed audition form (on website) and video links to TarzanSpotlight@gmail.com Audition Pack: Tarzan Audition Pack (PDF) Scheduling: Performance Dates: 6 February to 28 February 2026 Performance Times: Thursdays, Fridays & Saturdays – 7:30pm Sundays – 2:00pm Additional matinees or Wednesday shows may be added as required. Performance Location: Spotlight Theatre, Benowa, Gold Coast QLD Rehearsal Dates: Commence Monday 27 October 2025 Rehearsal Times: Mondays & Wednesdays: 6:30pm – 9:30pm Sundays: Various times (schedule provided after casting) Other Information: Warnings: Mild action sequences, stage combat, physicality, and implied death. Suitable for general audiences. Performer Age: 16+ (Young Tarzan double-cast, 8–12 years old) Creative Team: Director – Stuart Morgan Music Director – Matt Pearson Choreographer – Jennifer Gilbert Co-Choreographer – Perrin Gilbert Production Website: www.spotlighttheatre.com.au Other Information: All cast and crew must be financial members of Spotlight Theatrical Company. You will need to supply your own makeup, personal garments and shoes. This is a community production – unpaid. Available Roles / Character Breakdown: Tarzan Male-presenting Stage age: late teens–early 30s Vocal range: B2–Bb4 Raised by gorillas, athletic and emotional, searching for belonging. Physically strong and vocally dynamic. Jane Porter Female-presenting Stage age: late teens–20s Vocal range: F#3–F5 Curious, intelligent, and kind-hearted English naturalist; adventurous and witty with strong acting and vocal skills. Kala Female-presenting Stage age: 20s–40s Vocal range: E3–Eb5 Tarzan’s nurturing gorilla mother; warm, maternal and protective with emotional range. Kerchak Male-presenting Stage age: 30s–50s Vocal range: Ab2–Gb4 Authoritative leader of the gorilla troop; stern but caring; commanding baritone voice. Terk Male-presenting Stage age: late teens–30s Vocal range: Eb3–B4 Energetic, comedic and loyal; Tarzan’s best friend with a pop/rock edge. Young Tarzan Male-presenting Stage age: 8–12 Vocal range: unchanged voice C3–E4 Curious, playful, eager to belong; strong singer/actor with physical energy. Professor Porter Male-presenting Stage age: 40s–60s Vocal range: B2–C4 Jane’s father; eccentric, warm, and absent-mindedly funny. Clayton Male-presenting, Stage age: 20s–40s Non-singing role Charming but ruthless antagonist; physically confident with strong stage presence. Leopard Male-presenting Stage age: 17+ Jungle predator; strong movement and fight skills. Acrobatics or flips advantageous. (Ensemble double) Ensemble – 16+ (all vocal types) Portray gorillas, jungle explorers, and featured humans (Father, Mother, Snipes). Must sustain gorilla posture and movement.

Title: 17 Again – The Musical Presented By: Beenleigh Theatre Group Genre: Pop/Rock Contemporary Musical Comedy Synopsis: Based on the hit 2009 film starring Zac Efron and Matthew Perry, 17 Again follows Mike O’Donnell — a 35-year-old father who thinks his best days are behind him. A former high-school basketball star with big dreams, Mike’s life didn’t turn out as planned: his marriage is failing, his kids don’t respect him, and his job is going nowhere. When he magically transforms back into his 17-year-old self, Mike sees a chance to rewrite his past — but in doing so, he discovers the deeper beauty of the life he already has.With a contemporary pop-rock score from Alan Zachary & Michael Weiner (First Date) and a heartfelt book by Marco Pennette (Ugly Betty, Mom), this uplifting musical explores love, family, and the timeless question: “What would you do if you could do it all over again?” Audition Date: Sunday 2 November 2025 Audition Time: 9:00am – 6:00pm (dance + individual slots throughout the day) Audition Location and Address: Crete Street Theatre, Beenleigh QLD 4207 Audition Self-Tape Due: Accepted for those unable to attend in person — due by Friday 31 October.Include both prepared songs, your side read, and the dance routine (choreo video will be emailed to you). Callbacks: Monday 3 November 2025, from 6:00pm Audition Outcomes: By Friday 7 November 2025 Audition Requirements: Dance Call Sunday 2 November, 9:00am Everyone must attend. The dance call will include a short routine to assess movement, stage presence, and storytelling through performance. Focus is on energy, character, and connection — not just technique. Individual Audition (singing/acting) Begins 10:00am onwards (10-minute slots). Register for a 1-on-1 session with the audition panel. Prepare two contrasting songs (approx. 32 bars / 1 minute each) in the style of the show. One may be from 17 Again. Songs should show range, character, and emotional flexibility. Bring your own backing track, cued and ready. A speaker and adaptors (AUX, USB-C, Apple) will be provided. Each audition will be filmed. Side Read: Choose an excerpt for the character(s) you connect with (from BTG website). Perform with an American accent. Audition Information: Beenleigh Theatre Group Audition Registration: Book Here Audition Pack: Download Here Scheduling: Performance Dates: Fri 6, 13 & 20 February 2026 – 7:30pm Sat 7, 14 & 21 February 2026 – 2:00pm & 7:30pm Rehearsal Schedule: Tuesdays & Thursdays: 7:00–10:00pm Sundays: 5:00–9:00pm Rehearsals begin Sunday 9 November 2025. Warnings: Mild adult language, family tension, teen relationships. Performer Age: 15+ Creative Team: Director: Lachlan Dodd Musical Director: Mark Mirhan Vocal Director: Ruby Tate Choreographer: Meggie Ryder Assistant Choreographer: Kaitlyn Burton Production Manager: Bryce Berrell Production Website: https://beenleightheatregroup.com Other information: This is a community theatre production – all roles are voluntary. Cast must hold Beenleigh Theatre Group membership ($10 per calendar year). Membership required for 2025 and 2026. Bring a picture of yourself to use for identifying Available Roles / Character Breakdown: Mark / Young Mike 15–25, male Vocal range: Bb2–Bb4 Mike’s 17-year-old self. Charismatic, athletic, and still full of teenage energy. Must balance youthful charm with emotional maturity beneath the surface. Strong singer/actor and confident mover. Older Mike 35–45, male Vocal range: G2–G4 The adult version of Mike. Disillusioned and bitter; a man who’s lost sight of what matters. Emotional depth essential. Scarlet 35–45, female Vocal range: F3–E5 Mike’s estranged wife. Warm, grounded, independent, rediscovering her own happiness. Strong belt and emotional vulnerability. Alex 15–25, male Vocal range: A2–G#4 Mike and Scarlet’s awkward son; insecure but lovable. Doubles as Young Ned. Maggie 15–25, female Vocal range: A3–D5 Mike and Scarlet’s daughter. Straight-A student who’s fallen for the wrong guy. Smart, strong-willed, with a pop mix. Ned 25–35, male Vocal range: Bb2–G4 Mike’s best friend — a loveable geek-turned-tech-millionaire. Comic timing required. Naomi 30–45, female Vocal range: Bb3–Db5 Scarlet’s sassy best friend. Upbeat, confident, and full of advice. Principal Masterson 30–45, female Vocal range: Bb3–G5 Authoritative, no-nonsense principal. Coach Murphy 50–60, male Vocal range: Eb3–A4 Gruff basketball coach who doubles as the mystical janitor who gives Mike his second chance. Stan 15–25, male Vocal range: D3–A4 Maggie’s handsome, cocky, dim-witted boyfriend. Must have comedic chops and swagger. Chelsea / Young Scarlet 15–25, female Vocal range: Bb3–C5 Sweet, innocent teenage girl. Doubles as Young Scarlet The Brittanys 15–25, female Vocal range: Bb3–F#5 A trio of high school “it girls” — sharp, sassy, and funny. Pop vocal blend preferred. Additional Ensemble (15–50, all genders) Students, parents, teachers, and townsfolk.

“Well hello, Dolly… it’s so nice to have you back where you belong.” Step aside, modern revivals! Savoyards are here to remind Brisbane why the Golden Age classics endure. Their glittering new production of Hello, Dolly!  is a tribute to big hats, bigger feathers, and grand personalities. Under the warm, witty direction of Kristen Barros , the show feels both timeless and freshly polished, a brilliant finale to Savoyards’ 2025 season. Known to many through Barbra Streisand’s 1969 film adaptation, Hello, Dolly!  is set in 1890s New York and follows professional matchmaker, meddler, and all-round businesswoman Dolly Gallagher Levi as she skilfully weaves her way into the life (and wallet) of wealthy store owner Horace Vandergelder. Along the way, she plays cupid for a string of mismatched lovers: clerks Cornelius and Barnaby, the hat-makers Irene Molloy and Minnie Fay, and the hopelessly-in-love Ermengarde and Ambrose. The wigs, costumes, and accents are perfectly fitting to immerse us in this bygone world without ever feeling dated. Miranda Selwood  strides in as Dolly Levi, resplendent in an apricot-coloured frock, feathers in her hat, and a knowing glint that says, “I’ve already made up your mind for you.” She perfectly embodies Dolly as the mischievous and endearing busybody, yet beneath the sparkle reveals a woman of real depth; a confident façade concealing flashes of loneliness for her late husband. Watching the young lovers dance, she reflects, “I’m like an oak leaf… without colour, without life.” Her Act I showstopper Before the Parade Passes By  is a triumph of spirit and sincerity, as Dolly resolves to “rejoin human life,” her voice soaring while a literal parade moves through the aisles. Kat Suschinsky  delivers a glowing performance as Irene Molloy, captivating the audience with her old-Hollywood voice, smooth as velvet in the enchanting Ribbons Down My Back . Her interpretation is a heartfelt expression of longing as she flips between delicate notes and passionate belts like it's no big deal. Katyia Wills brings bright, exuberant energy as Minnie Fay with her comic charm and natural spontaneity, prompting laughter with lines like, “That hat is far too provocative for a widow!” Warryn James  gives a grounded performance as Horace Vandergelder, revealing the man beneath the bluster. His number It Takes a Woman  becomes an unexpected highlight thanks to the male ensemble’s rich harmonies and silly swagger. Conor Ensor  and Zach Price  as Cornelius and Barnaby are the show’s embodiment of youth and optimism. As they lead us into the exuberant Put On Your Sunday Clothes , the simple yet striking ensemble blocking lets the audience share their excitement as they prepare for a day of adventure (and I was left humming its infectious refrain for days on end!). Conor Ensor  and Kat Suschinsky  later share the tender It Only Takes a Moment , a duet so full of hope and romance it almost makes you weep. Speaking of tears, Stephanie Lee-Steere’s  perpetually sobbing Ermengarde is a delightful treasure. Then there's that iconic staircase moment: Dolly’s grand entrance, cutting quite the figure in her red sparkling gown, framed by a string of golden light and crowned with a feather plume big enough to make a peacock jealous. She commands the room and everyone in it with complete authority. Kristen Barros’s  direction leans into the comedy in all the right places, ensuring every laugh is well-timed and every moment of slapstick shines. Add the delightful chaos of Motherhood March , the laugh-out-loud dinner disaster of The Polka , and the tap-dancing whirlwind of Hello, Dolly!  (complete with a kickline, of course), and you have a show that never stops delighting. From the opening vocals of Call on Dolly , you know you’re in safe hands. Under the music direction of Jacob Cavanough , the orchestra sounds lush and full, with rich brass and soaring strings that instantly transport you to turn-of-the-century New York. The sound design by Ethan Houley  and David Sowdon  is impeccable, perfectly balanced in those full ensemble harmonies that lift the entire theatre. Savoyards always excel at the classics, but this Hello, Dolly!  might be their most visually sumptuous yet. The costume team, Cody Newnham  and Kim Heslewood , with wigs by Lynne Swain , deliver a true feast for the eyes. Every fabric, parasol, hoop skirt, glove, and bustle sings with period perfection. (Side note: can men please start dressing like this again?) The set design by Glenn Anderson  and Greg Heslewood  is cleverly dynamic, with moveable pieces, multiple levels, and swift transitions that keep the action flowing. Gabrielle Burton’s  lighting bathes each scene in a golden cinematic glow, and I didn’t spot a single mishap all night. Bec Swain’s  choreography sparkles, particularly in Dancing , where the featured dancers twirl and glide like porcelain dolls come to life. And I do love a good dancing-waiters moment: The Waiters’ Galop  delivers dazzling, over-the-top joy that had me grinning the whole way through. Hello, Dolly!  is grand, funny, heartfelt, and old-fashioned in the best possible way. It’s the kind of show that reminds you why musical theatre endures, because sometimes a little colour and joy are exactly what we need to rejoin human life. The detail, the discipline, the evident love, it all radiates from the Savoyards stage. I feel genuinely privileged that Miranda Selwood was my introduction to Dolly, and that Savoyards was my introduction to this musical. If I could hire Dolly Levi to sort out my love life, I absolutely would. Until then, I’ll happily settle for this dazzling dose of musical matchmaking. Don’t let the parade pass you by; catch it before 11 October. Tickets here. Photography by Sharyn Hall

The Lovers  by Shake & Stir Theatre Company Queensland Performing Arts Centre in association with Brisbane Festival Book, music, and lyrics by Laura Murphy Directed by Nick Skubij Choreographed by Yvette Lee Designed by Isabel Hudson Lighting Design by Trent Suidgeest Sound and Video by David Bergman Fight and Intimacy Direction by Nigel Poulton Musical Director Heidi Maguire Shakespeare has been leading us into the enchanted forest of A Midsummer Night’s Dream  for over 400 years, and each time we stumble back out a little transformed. That’s the magic of the Bard. His themes remain universal, elastic, and endlessly ripe for reinvention. The Lovers  grabbed that legacy and sprinted straight into club culture, neon fantasy, and full emotional meltdowns. I was lucky enough to see The Lovers  twice, once in preview and again closer to closing, and I could easily have gone back a third time just to relive the collision of Shakespeare’s wit with Laura Murphy ’s electrifying score. Her original songs were unmistakably pop-inspired, but never felt like a carbon copy of anything. It stood confidently on its own, full of punch, humour, and those little lyrical zingers that kept the audience laughing. The design team went all in and spared no expense. Isabel Hudson ’s set was a visual feast, beginning in structured Grecian drapery and columns before transforming into a lush, glowing forest dripping in pinks, florals, and soft fantasy textures. A central tree bloomed mid-stage, surrounded by cascades of petals, starry projections, and layered curtains that shimmered like a dreamscape. The production design was Shake & Stir at their boldest: cinematic projections, non-stop lighting, and not one but three  revolves to create a hypnotic carousel of bodies and chaos that only director Nick Skubij could wrangle with such precision. The upstage band laid down killer beats, and the entire thing looked like the glittery love-child of Six , & Juliet , and 2am at The Beat. Trent Suidgeest’s lighting carved the stage into hypnotic slices of color and shadow, sometimes exploding with strobe-heavy chaos and other times melting into romantic softness. David Bergman’s projections and video design wrapped the world in movement, and his sound design gave the five-piece band a fierce, pulsing presence. Costume-wise, the transformation was just as satisfying. The Athenians began in structured, slightly frumpy layers with ruffs and muted tones, before shedding them in the forest for vibrant, modern, playful looks. Hermia stepped into a pastel skort costume that gave her complete freedom to jump, roll, and run around. Puck and Oberon wore elaborate circus fantasy outfits, as if they were the ringmasters of the chaos. Jayme-Lee Hanekom  burst in as Puck with a rapid-fire rap introducing the lovers with flair. Nimble, mischievous, and completely unbothered, she bounced through the show with cheeky confidence, belting out “Nailed it” after being a magical menace. Stellar Perry’s  Oberon was the definition of electric. Stellar floated in as the hottest cupid-core deity I have ever seen, tearing through “Down to Love (DTF)” and “Magic Touch” with endless riffs, powerhouse vocals, and enough stage presence to make the gods jealous. Loren Hunter  as Hermia was a pocket rocket of confidence and determination. “Perfect Little Princess” showcased her strength early, while later numbers like “Wrap Around Me” saw her leaning into that confidence with full rom-com heroine energy. The disco ball moment in that number was giving full awkward high school prom night. By Act 2 she had descended into unhinged chaos with crazy eyes and full feral energy. Her verbal annihilation of Helena was vicious as she shifted from pretty princess to deranged woodland gremlin. The nightmare sequence, “Hiss Hiss Bitch,” with Puck and Oberon rapping in cages, was pure club fever dream - very TS Reputation  album meets Mean Girls' Someone Gets Hurt .   Natalie Abbott  as Helena completely stole hearts. She was the ultimate third-wheel bestie: faking joy for her coupled-up friends, frustrated at her own failures, and always dancing on the edge of heartbreak. Her solo “Chasing My Tail” is my new life anthem. She has the PERFECT pop tone, sparkling comedy, and aching puppy love all rolled into one.   Jason Arrow  swaggered in as Demetrius; a gold-dripped, charm-soaked, unapologetic f*boy. He dripped false dreams and false confidence, relentlessly chasing Hermia while harshly rejecting Helena, aching to ‘taste forbidden fruit’. He had the audience grooving through his number "I Want What I Cannot Have", which carried an RnB edge, a little Ne-Yo ache, and a touch of MJ flair. And then there was Matt Verevis ’ Lysander, the adorable goof of the story. Boy band meets Elvis, with a voice to match. His lovesick, spellbound behaviour was played for maximum comedy; the embodiment of the heart eyes emoji. The duet “Start Over” with Loren was pure rom-com bliss, dripping with swoony clichés, sincerity, and that line about Taylor Swift suddenly making sense because “now I know what she’s singing about”. Choreographer Yvette Lee  laced the show with movement that never stopped pulsing. Her work exploded in the number “Gimme Gimme”, where the boys zipped across the stage like golden retrievers in heat while the girls tried desperately to wrangle them with their 'nay-nays'. Nigel Poulton’s  fight and intimacy work threaded tension or tenderness into every tangled moment. The “To Die For” quartet delivered exquisite harmonies and dramatic use of the revolves.   I have seen several versions of A Midsummer Night’s Dream , but the Demetrius vs Lysander fight over Helena in this production topped all of them. Act Two surprised me with its emotional depth. The show found moments of sincerity in the heartbreak, the confusion, the best-friend fallout (which can hurt more than romantic heartbreak), and what it means to love authentically without losing yourself. The final number “How To Love” landed with enormous cheers and a wave of warmth across the room.   Laura Murphy’s adaptation didn’t simply modernise Shakespeare. It remixed him, reclaimed him, pumped him full of pop adrenaline, and let the women take the reins. The original prose sat proudly in the script, sprinkled with added jokes like “Remember a time when we didn’t have to swipe right?” The score was entirely original. There was no jukebox familiarity here. Just fresh, fearless bangers threaded with hilarity and heart. The comedy was constant, often driven by exaggerated physical acting that helped bring Shakespeare’s prose to life in a way that felt clear, accessible, and rightly ridiculous. Pop culture references were scattered throughout, landing easily with the knowing audience members. The women were fierce, the men were soft and vulnerable, and love was treated as the glorious battlefield it is in the original. I walked in wearing my best fairy outfit hoping to see a little magic. I walked out buzzing, heart full, head spinning, already counting down until I could see it again. If you’re into Six , &Juliet , feminist remixes, or simply want Shakespeare shaken, stirred, and dipped in glitter, The Lovers  was an absolute treat. If this is what Shake & Stir Theatre are brewing, I can’t wait to see what mischief they conjure next year!

Title: Matilda JR. (Workshop + Performances) Presented By: The Dance and Theatre Factory Genre: Family Musical (JR. Edition) Synopsis: Rebellion is nigh! Matilda Wormwood is brilliant, brave, book-obsessed—and armed with a touch of magic. With the kind Miss Honey in her corner and a school full of “revolting children,” Matilda stands up to the tyrannical Miss Trunchbull in this funny, fast-paced musical about courage, imagination, and choosing your own story. Audition Date: Thu 4, Fri 5, Sat 6 December (individual slots) Audition Time: Thu 4 Dec: 3:15–4:15pm Fri 5 Dec: 4:00–6:30pm Sat 6 Dec: 12:00–3:00pm Audition Location and Address: On the Boards Theatre Company, Unit 1/433 Wondall Rd, Tingalpa QLD Audition Requirements: Performer age: 8+ Prepare two contrasting musical theatre songs (approx. 32 bars each). Panel may not hear both. Bring a backing track on an AUX/Bluetooth-capable device Acting side: Familiarise one excerpt from the audition pack to read in the room. Notes: Only audition if you want a speaking/lead role. No audition required for ensemble participation. Audition Registration: Register Here Audition Pack: Download Here Performance Dates: Sat 17 – Sun 18 January Rehearsal Dates: Workshop block: Fri 9 Jan – Fri 16 Jan (January school holidays) Rehearsal Times: 9:00am–5:00pm daily during the workshop Participation Fees: 10-day program (9–18 Jan): $495 (principal roles) 6-day program (12–18 Jan): $375 (ensemble roles) Payment plans available on request. Fees include: costumes, rights/royalties/scripts, insurance, technical & creative staff, sets/props, venue hire. Available Roles/Character Breakdown: Matilda Wormwood (D5–Bb3) – Brilliant, fiercely independent, and compassionate; escapes into books and discovers surprising powers to outsmart injustice. Miss Honey (D6–Bb3) – Gentle, brave teacher who champions Matilda’s gift despite her own difficult past; warm mix/soprano with heart. Agatha Trunchbull (F#5–C4) – Comic villain; the iron-fisted headmistress who relishes rules and punishments; commanding presence and timing essential. Mr. Wormwood – Blustering, small-time schemer; dismissive of Matilda and hilariously deluded by his “business genius.” Strong comedic patter. Mrs. Wormwood – Vain, self-absorbed dance devotee; prioritises looks and TV over parenting; larger-than-life comedy with dance flair. Michael – Matilda’s monosyllabic brother; minimal lines, deadpan comedy. Mrs. Phelps – Kindly librarian who delights in Matilda’s storytelling; warm, supportive presence. Escapologist (F3–E3) – Heroic, grand figure from Matilda’s tale; bold, theatrical delivery. Acrobat (A4–D4) – Graceful counterpart to the Escapologist within Matilda’s story; lyrical performance quality. Bruce (F#4–C3) – Good-natured classmate who faces Trunchbull’s infamous chocolate-cake trial; requires comedic stamina and featured vocals. Lavender (D5–C4) – Matilda’s upbeat bestie; resourceful and loyal; featured lines and song moments. Nigel (D4–C3) – Sweet, anxious classmate who gets flustered but pulls through; comic beats and small solos. Amanda (Eb5–C4) – Spirited classmate with the iconic pigtail-toss moment; featured solo lines. Hortensia (D5–C4) – Confident truth-teller among the kids; solos and dialogue. Alice (D5–C4) – Classmate with featured vocal lines. Tommy (Eb4–C3) – Classmate with featured vocal lines. Rudolpho – Mrs. Wormwood’s flamboyant dance partner; movement/dance feature and comic swagger. Sergei – Intimidating but ultimately pragmatic client; brief featured scene with Matilda. Ensemble – Russians, Little Kids, Big Kids (incl. Big Kid 1–3), Kids, Mums, Dads, the Cook, the Mechanic. Ensemble sings, moves, and creates the show’s world; plenty of featured moments.

Presented by Salad Days Collective at PIP Theatre as part of Brisbane Festival Directed by Rebecca Day “Clicking yes I am over 18 with a clear conscience is every 17 year old’s dream.” The Natural Horse  (by T. Adamson) was one of the strangest theatrical escapades I’ve experienced in quite a while. Presented almost like an experimental theatre piece: a collage of vignettes, surreal humour, family chaos, queer teen angst, architectural deep-dives and naturally… a horse chilling in a suburban Wisconsin lounge room. I truly had no idea what to expect next, and judging by the confused chuckles around me, neither did anyone else. The story follows the Kareninas, an ex-Soviet immigrant family whose comfortable home quickly becomes a circus when daughter Masha brings home a horse she found while walking back from school. Masha, played with moody teenage accuracy by Jasmine Prasser , stomped around in baggy pants, heavy eyeliner, purple streaks, a choker necklace and an attitude. She shamelessly flirted with her unsure best friend Charlotte, creating a hilarious tangle of queer longing and awkward sexual tension that felt real enough to sting. Neve Francis performed as the painfully sweet Charlotte. Young, nervous and trying her absolute best to be pure and polite in a household that was anything but. Their scenes together were oddly fascinating, veering between deep confessions, bizarre questions, whispered secrets and very questionable decision making. Calum Johnston played the cheery Soviet dad Anton who rambled, overshared, and embarrassed everyone in his orbit. Lachlan Orton was their exhausted, quietly dissatisfied, heavily pregnant mother Svetka, relying on expressive facial acting to say almost everything he needed. Every sigh, side-eye and drooping shoulder landed. Lines like “I want both of you girls to drink every boy under the table” absolutely flattened the audience. And both their accents were so good that I am convinced half this cast must actually speak Russian. Lauren Dillon  delivered some of the most bizarrely hilarious moments of the show. As Kirk, the neighbour sporting an enormous handlebar moustache, she delivered a monologue that absolutely refused to end and later launched into a karaoke moment that felt like a full acid-trip detour. Were the lyrics improvised? Because I swear they were... And then there was Lil Gemini. Georgina Sawyer was a standout as the autistic-coded, hyper-fixated younger sister who communicated primarily in lists, facts, and wide-eyed stares. Her flat delivery, sudden monologues about Timothée Chalamet, childish tantrums, and oddball conversations were some of the funniest moments of the night. She also had entire conversations with Goodboy the horse, who narrated back in an unexpected posh British accent. Speaking of Goodboy, the horse puppet was golden. (I can't find a photograph of it!) Designed with ramshackle charm and operated with incredible precision by Calum Johnston and Neve Francis, the physical comedy was unforgettable. The poor performer in the back half crouched and shuffled around furniture, squeezed through doorways, humped the couch, conquered stairs and generally caused domestic chaos. The production design leaned into the surreal. Designed by Ada Lukin , the Wisconsin living room was a comforting blend of browns, wood textures, a fireplace, embroidered artworks and a casually mounted gun above it all. Noah Milne’s lighting carved strange and beautiful visual moments, especially during the snow sequence, and New Resource’s sound design heightened the madness with little pockets of whimsy and music. One thing this play captured beautifully was sisterly friction and parental tension. The sniping. The eye rolls. The petty emotional warfare. The dialogue often overlapped like a real family speaking over each other. Then suddenly someone would snap into a monologue, or the lighting would shift, or the horse would trot through the scene, and we were suddenly back in pure absurdism. Scenes were introduced with projected excerpts from Frank Lloyd Wright’s writing. I’ll be honest. I was lost. Utterly lost. Masha even presented a PowerPoint about his work and I still had no idea what architectural rabbit hole we had fallen into. At two hours without  an interval, the play certainly asked a lot of its audience. It felt long and occasionally exhausting. I wasn’t particularly compelled to attempt to decode any deeper meaning either (if any). But I did genuinely care about the characters (and the horse), and the performances across the board were exceptional . Would I watch it again? Probably not. But am I glad I saw it? Absolutely. The Natural Horse  was unlike anything else in Brisbane Festival’s program this year. Salad Days Collective committed wholeheartedly to this wild piece, and while I would love to see them take on an Australian work next, I admire their willingness to go big, go weird and go boldly into the unknown.