Shrek the Musical Communication in Action Talbot Theatre, Thomas Dixon Centre Directed: Tim Hill Music Director: Jacqui Devereux Choreography: Justin Anderson  Photography: By Brit Creative Walking into a completely full Talbot Theatre is always a promising sign, and Shrek the Musical wasted no time proving why every seat was taken! The show leaned fully into what makes Shrek so much fun: outrageous characters, bold humour, and joyful theatrical silliness. The musical honours the film while giving the comedy a fresh stage twist, with plenty of jokes that flew straight over the kids’ heads and landed squarely with the adults.   Henry Marsh as Shrek brought warmth, humour, and a very solid accent to the role. Vocally, he handled the demands of the score with confidence, as did the other boys across the cast. “Who I’d Be” was a lovely, sincere solo that showed the gentler side of the character. I would have loved to see Shrek lean even further into that fed-up frustration at times, but overall his performance of this tremendous role was incredible. Hamish Treweeke as Donkey was an absolute highlight. Donkey has to be a speedy talker, crystal clear, and relentlessly energetic, and Hamish delivered all of that with sass to spare. He was a walking encyclopaedia of pop culture references, a constant ball of energy, and absolutely nailed “Don’t Let Me Go,” cementing the Shrek-and-Donkey dynamic as the strongest duo on stage.   Murphy O’Connor as Princess Fiona was a complete standout. She played Fiona as the glorious crackpot she is, with bold physicality, dramatic gestures, and excellent comic timing. Vocally, Murphy was fantastic, switching effortlessly from a bright musical theatre belt to a sweet, delicate classical tone. (“ the waiting! !!!!” moment was chef’s kiss.) “I Know It’s Today,” shared with Aria McGregor (Young Fiona) and Dottie Reisener (Teen Fiona), was beautifully layered, confident, with harmonies that blended seamlessly. Archer Grounds’ Lord Farquaad was iconic, from the sparkly outfit and sassy attitude to the impressive knee-sprinting across that enormous stage (no small feat... pun fully intended). Henry Woodwar d as Thelonius added to the laughs and was the perfect sidekick in Farquaad's scenes. Ella Reynolds as Gingy was a joy. I loved that she didn’t lean into the overly squeaky voice we so often hear. Her natural voice was divine and gave the character warmth and sympathy. Ariella Meehan ’s Pinocchio was full of personality, and the nose effect was a very fun visual gag for the audience! Alessia Lily Monteverde as Dragon brought serious funky energy to “Donkey Pot Pie,” complete with spotlights, a killer outfit, and strong support from the Knights. Without the option of a giant dragon puppet, the moment relied entirely on Alessia, and she delivered vocally in a big way! I would have loved to see that sass shared with the audience a little more (face us more cause we want to see you!), as the blocking had her chasing Donkey all over the stage in her stilettos. “Story of My Life” was a delightful explosion of fairytale chaos, with an absurd number of characters filling the stage! It was cleverly cast to spread featured moments among the more senior performers. The fairytale creatures truly shone in “Freak Flag,” which completely blew me away. The commitment to character was fantastic, the choreography was high-energy, and the whole number felt joyfully unhinged. Standouts included Bella Pietrobon ’s Wicked Witch, Saana Chang ’s Ugly Duckling, Neil Marco Il Aballe ’s Big Bad Wolf, and Stephanie Dortolina-George as Mama Bear. Visually, this production was stunning. The massive digital backdrop looked like storybook paintings brought to life, and the lighting on this stage was, as always, fabulous. The designer made excellent use of patterned lights to add texture without overwhelming the action. I also loved how the audience walkway was used during the travel sequences, giving the staging scale and helping the world feel bigger than the stage. “Welcome to Duloc” was a fun ensemble moment, full of bright energy and costumes. I would have loved to see even more plastered grins and crisper articulation to really lean into that aggressively cheerful dystopia. “Morning Person” was a crowd-pleaser, with strong choreography, though I couldn’t help wishing the tap sections had been performed in actual tap shoes. Let those rhythms sing! “I Think I Got You Beat” was a standout musical moment between Fiona and Shrek, with great chemistry and comic timing. Donkey observing from further upstage meant some of his reactions were lost, and I think perching him closer to the stage edge would make that moment even stronger. The ensemble as a whole was a real strength of this production. Their commitment, energy, and character work lifted every scene. Bonus points as well for the Princess Bride reference at the wedding, which absolutely tickled me. Under the direction of Tim Hill , with choreography by Justin Anderson and music direction by Jacqui Devereux , Shrek the Musical was fun, fast-moving, and full of heart. It embraced the ridiculous, celebrated its performers, and left the audience smiling.

The Little Mermaid Jr - Valmy Academy, Camp Neverland Holiday Program Valmy Academy’s holiday production of The Little Mermaid Jr  was a bright, bubbly reminder of just how much young performers can achieve when they’re given trust, encouragement, and a tsunami of creative fun! Presented as part of Camp Neverland, this wasn’t just a show... Across one intensive week, performers aged 7–17 rehearse and perform a youth musical (alongside excursions and activities!) It requires focus, flexibility, teamwork, and stamina; and that effort was absolutely visible on stage. This junior adaptation, based on Disney’s beloved The Little Mermaid  film and the 2008 Broadway musical, was guided with care by Clara Hutton (Director and Choreographer), Eli Ball (Music Director), and Maureen Bowra (Assistant Director), under the leadership of Lee Valmy , whose program continues to nurture young performers in a supportive and confidence-building environment. Staged at the Hope Centre (my first time there and my first Valmy Academy show!) complete with full seating on the floor and tiered sections, air conditioning (bless), dazzling lights, a raised stage, and screens... the show burst with colour to create a party under the sea! Georgina Bell led the cast as Ariel, delivering Part of Your World  with a strong, clear pop vocal and a confident American accent. She captured Ariel’s curiosity and longing beautifully and carried the role with ease. As Prince Eric, Josh Starnes brought warmth and sincerity, particularly in One Step Closer , where his stunning pop-style vocals had a very contemporary feel (very much giving “young Bieber” talent, in a good way!) Blayde Holmes was a standout Sebastian, oozing charisma and showmanship with a natural dancer’s presence and strong stage instincts well beyond a junior level. Willow Massingham’s Flounder was utterly adorable, earnest, sweet, and vocally strong, winning over the audience every time she appeared. The six mermaid sisters absolutely nailed She’s in Love , which emerged as a standout number of the show, a polished combination of vocals and choreography that burst with youthful excitement. Aurora Messer leaned all the way into the chaotic joy of Scuttle, delivering excitable physicality in Human Stuff  and keeping the energy sky-high whenever she hit the stage. Charlotte Birmingham’s Chef Louis was, quite frankly, hilarious, with Les Poissons landing as one of the biggest laughs of the show. Samantha Loomans’ Ursula absolutely slayed, with bold stage presence, striking lighting, fierce makeup, and a deliciously villainous accent. Poor Unfortunate Souls  was a major highlight, packed with confident opt-ups and full theatrical commitment. Jorja Mugford and Polly-Jean Nemetala added loads of personality as the slithery Flotsam and Jetsam, complete with eel-inspired looks (giving Taylor Swift’s Reputation  era). Jasmine Denman’s King Triton anchored the underwater world with authority and heart. Visually, the production sparkled! The mermaid costumes were pretty and glittering, the colour palette was vibrant and fun, and Sebastian’s makeup was particularly awesome. Working with music tracks can be a bit tricky, and there were a few moments where timing and pitch wobbled, but the cast handled it like pros. Kiss the Girl could have borrowed some of the collective razzle-dazzle energy in Under the Sea, but the vocals were still a treat for my ears. What shone brightest was just how much this production looked like FUN. The joy, pride, and collaboration onstage were unmistakable, and that’s something you can’t fake. The Little Mermaid Jr  was a joyful, energetic celebration of youth theatre, and a lovely reminder that when young artists are supported, challenged, and encouraged, the results can be absolutely fin-tastic!

After years of teaching these songs in lesson rooms, I realised that this was actually my first time seeing Matilda  staged! The Dance and Theatre Factory’ s Matilda the Musical Jr  was a high-energy holiday production that celebrated young performers and their love of storytelling. While the one-act format doesn’t offer the full score, it keeps the pacing tight and the audience engaged.   Based on Roald Dahl’s beloved story, Matilda  follows an extraordinary young girl with a sharp mind as she navigates cruel parents, a terrifying headmistress, and discovers her own inner power along the way. From the moment the cast entered through the aisles for Miracle , the show became immersive and playful. The backdrop visuals were vibrant, the costumes were standout, and the coloured blocks — doubling as school seats and ever-shifting set pieces — were constantly rearranged by the cast, keeping the stage picture lively.   Matilda  is not an easy show to wrangle. The lyrics are dense, the rhythms are relentless, and the timing has to be spot on (thanks, Tim Minchin). Naughty  alone is a musical workout, but Lyla McLaren handled it with confidence and commitment. Under the direction of Lyn Pelgrave, with music direction by Robert Clark and choreography by Maddi Hatzioannou , the show moved confidently along. Colourful lighting from Bryce Delayney and clear sound from Murray Keidge supported the storytelling across the full cast performing to tracks. The show was packed with fabulous little performers, all leaning into bold characterisation and consistent British accents. Lyla McLaren’s performance of Quiet  (one of the hardest and BEST songs in the show) was a standout moment, with the ensemble frozen behind her and an echo effect on her mic creating the sense of isolation and mounting frustration.   Emily Carrick played Miss Honey with warmth, sweetness, and clarity. Her solo This Little Girl rang beautifully through the auditorium with a pretty, controlled tone, and her gentle presence felt entirely authentic. I could absolutely see her as a real teacher one day. Mila Price was gloriously nasty as Miss Trunchbull, stomping through scenes with a booming authority, yet singing with a classical vocal tone that suited the role perfectly. Her numbers, The Hammer  and Smell of Rebellion stood out for its staging, with push-ups and sit-ups woven into disciplined, high-energy choreography. Vincent Taylor and Matilda Bradshaw embraced the absurdity of the Wormwoods with their hilariously sharp character choices. Jake Allen brought real confidence and bite to Bruce Bogtrotter, particularly in his solo moments during Revolting Children, where he lead with confidence and attitude. In Bruce  — the infamous chocolate cake scene — the ensemble exploded with energy, delivering one of the most high-octane moments of the show, driven by fierce vocals, big reactions, and a cast clearly having the time of their lives! At times, some leads stood a little too rigid; I would suggest greater use of physical resistance and defiance. When I Grow Up  brought a gentler pause to the action, with strong soloists, pleasing harmonies, and a sweetness that landed particularly with the adults in the room. The ensemble worked incredibly hard in a very full space and handled it admirably. School Song featured imaginative choreography and bold “big kid” acting, including two performers forming alphabet letters with their bodies. The ensemble’s commitment consistently paid off when dramatic choices were pushed and showcased. While I won’t list every featured role and ensemble member here, the collective energy onstage was epic throughout! The company’s inclusive casting felt thoughtful and purposeful, with performers of all abilities meaningfully involved beyond the lead roles. Overall, Matilda the Musical Jr  was a colourful, energetic, and joyful production that celebrated imagination, resilience, and young performers finding their voices. A fabulous holiday show and a clear testament to the talent and heart this company continues to nurture.

Title: Alice in Wonderland Presented By: Village Green Theatre Group Genre: Family Theatre / Adventure / Musical Adaptation Synopsis: Step through the keyhole into a magical world filled with curious characters, eccentric tea parties, and whimsical adventures in this theatrical adaptation of Alice in Wonderland. Join Alice as she navigates Wonderland’s colourful cast - from the Cheshire Cat to the Queen of Hearts - in a playful and imaginative journey for all ages. Audition Date: February 15th, 2026 Audition Time: 12PM – Ensemble 2PM – Leads & Supporting Audition Location and Address: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Audition Requirements: Register online via the “Book an Audition” link on the VGTG auditions page. Prepare to read from provided scenes and participate in movement/ensemble auditions as needed (details in the audition pack). Check the downloadable Audition Pack for character sides and preparation materials. Audition Registration: Book your audition here Audition Pack: Alice in Wonderland Audition Pack Performance Dates: 3rd - 11th July, 2026 Performance Times: Friday & Saturday evenings 7PM Saturday matinees 2PM Performance Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Rehearsal Dates and Times: Wednesdays & Thursdays - 7PM – 9PM Sundays - 1PM – 5:PM Rehearsal Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Production Website: Village Green Theatre Group - Alice in Wonderland Other information: Call‑backs are scheduled for 19 February 2026 from 7:00 PM for selected auditionees. Available Roles/Character Breakdown: Alice - Female, 14+, mezzo-soprano, lead role Cheshire Cat - Any gender, 14+, mezzo/tenor range, lead role Mock Turtle - Any gender, 14+, mezzo/tenor range, lead role Caterpillar - Any gender, 14+, mezzo/tenor range, lead role Queen of Hearts - Any gender, 14+, mezzo/tenor range, lead role White Rabbit - Any gender, 14+, lead role Mad Hatter - Any gender, 14+, alto/baritone range, lead role March Hare - Any gender, 14+, lead role Doormouse - Any gender, 14+, lead role Tweedle Dee & Tweedle Dum - Any gender, 14+, lead role Jack/Knave of Hearts - Male, 14+, supporting role King of Hearts - Male, 14+, supporting role Dodo - Any gender, 14+, supporting role Two, Five & Seven of Hearts - Any gender, 12+, supporting role Loreena/Mother - Female, 12+, ensemble Cards Ensemble - Any gender, 10+ Flowers Ensemble - Any gender, 10+ Characters Ensemble - Any gender 10+

The high-energy variety show, Centre Stage , brought to the stage by Arise Theatricals , Sunnybank Theatre Group , Threeworlds , and Aussie Stage Buzz , was a fiesta of young talent and good old-fashioned live performances!   Produced and directed by William Piper (who also served as host and headline performer), the show embraced the cabaret-style, anything-can-happen energy. William, just 16 years old, was completely at ease with the audience, cracking jokes, playful improvisation, and genuinely impressive magic tricks. At one point he summed up the vibe perfectly with, “We’re just making it up at this point!” His juggling acts with bowling pins, balls, and hoops were intricate and precise, while his handcuff escape trick was both impressive and laugh-out-loud funny.   The variety acts consistently impressed me! Tyrese Jok, only 12 years old, busted some hip-hop moves with great musicality and stage presence. Macca Cloke brought explosive dance energy to the stage (and threw in some unexpected contortions). The acrobatic duo of Mia Krone and Lisa Gardiner performed a stunningly intense routine to a Swan Lake  remix, showcasing extraordinary balance, strength, and trust. It was the evening's visual pièce de résistance!   Vocal performances by Eliza Cullerton added warmth and storytelling. Eliza sang When He Sees Me from Waitress fully in character, with no visible nerves and strong acting choices, though the music track sat frustratingly quiet, making pitch support difficult (was there a technical fallback?) The Little Mermaid's Part of Your World  later in the show was bright, expressive, and emotionally grounded, showing lovely growth across her two appearances. Audience interaction was a constant hoot. William’s balloon animal trick with an unwitting young "volunteer" stole the show; the kid's reactions were priceless. Later, some very bewildered “buff dads” were dragged onstage as volunteers, much to the crowd’s amusement. The room was alive, playful, and supportive, and I was definitely the loudest person cackling in that theatre.   This concept is crying out for more young talent and a cabaret-style seating arrangement next time. The Centre Stage platform is a fantastic, supportive launchpad for budding performers to try out their acts in the spotlight, gain stage confidence, and soak up the applause. Overall, this was a lively, funny, and genuinely impressive night of entertainment that championed young artists across magic, circus, dance, acrobatics, and song. Bravo to the future stars!

Annie – QPAC Lyric Theatre Produced by: John Frost for Crossroads Live Australia with Fowles Entertainment and Power Arts Book : Thomas Meehan Music : Charles Strouse Lyrics : Martin Charnin Director : Karen Johnson Mortimer Choreography : Mitchell Woodcock Music Director : David Piper Scenery : Kenneth Foy Costumes : Kristian Fredrikson Lighting : Gavan Swift Projections : Craig Wilkinson Sound : Michael Waters Anthony Warlow as Oliver Warbucks Debora Krizak as Miss Hannigan Mackenzie Dunn as Lily St. Regis Keanu Gonzalez as Rooster Hannigan Amanda Lea Lavergne as Grace Farrell Greg Page as Franklin D. Roosevelt Cameron Boxall as Bert Healy Tom New as Drake Blue Team Orphans: Dakota Chanel (Annie), Indigo Ohlin (Molly), Jessica Kime (Kate), Zara Boldery (Tessie), Violet Knight (Duffy), Tilly Love (July), Stella Shiels-Winters (Pepper), Dakota Bolt (Friday)   “Never work with children or animals,” they say. And yet here we were. A stage full of children. One extremely fluffy dog. I have a soft spot for Annie . I once stood in Grace Farrell’s sensible heels myself, so I know how much heart lives inside this show. Underneath the red curls and tap breaks is something sturdier. It is a story about belonging. About wanting to be chosen. Annie  follows a fiery orphan in 1930s New York who dreams of finding her parents. When she is invited to spend Christmas at the mansion of billionaire Oliver Warbucks, what begins as a publicity stunt becomes something far more meaningful. Along the way there are con artists, radio stars, poverty, President FDR, and a dog who inevitably steals hearts… This production honoured what has made this musical endure for decades. Big choreography. A sweeping orchestra. And that unmistakable swell of optimism that somehow still lands with full force in 2026. It insists on hope, even when the world looks bleak. The overture set the tone with projections of New York splashed across a scrim. The orphanage scenes sat in greys and worn textures; life under Miss Hannigan’s rule looking bleak and repetitive. When colour finally burst onto the stage, it felt like sunshine breaking through. I saw the Blue Team of orphan actresses, and they were outstanding. “ Hard Knock Life ” was disciplined, punchy, and vocally tight. The choreography moved insanely quickly, and they met it head on with impressive stamina. They understood the comic rhythm of the combative orphanage scenes beautifully. “ Never Fully Dressed Without a Smile ” also sparkled with crisp harmonies, bright faces and mischief; performed with the kind of commitment that makes you forget how young they actually are. Dakota Chanel as Annie delivered a clear, confident belt well beyond her years. Standing centre stage to sing “ Tomorrow ” solo to a packed house, while wrangling a dog who had other plans, took lots of courage. Her Annie was sassy and spirited, though at times the more emotional moments felt carefully rehearsed rather than fully lived. That is a refinement that will deepen naturally with experience. Anthony Warlow (reprising Warbucks for the hundredth time), provided the production’s centre of gravity. Gruff on the outside. Gooey in the middle. We were all completely invested in his evolving bond with Annie. The challenge within Annie  has always been the speed of that relationship. The script jumps a week forward, and the emotional shift can feel abrupt. That remains true here. The warmth between Annie and Warbucks was evident, but the structure rarely gives their bond the breathing room it deserves. Debora Krizak’s Miss Hannigan leaned heavily into the bleary, fed-up drunk absurdity of the role. She was vocally steady and humorously committed. “Little Girls ” did not quite snap with the venom it can carry, but “ Easy Street ” exploded with energy. Krizak, Keanu Gonzalez, and Mackenzie Dunn chewed the scenery, and the choreography gave them plenty to play with. Amanda Lea Lavergne’s Grace Farrell radiated polish and warmth. She slipped into the elegance of the Warbucks household well, balancing professionalism with kindness beautifully. Greg Page as President Roosevelt was one of the show's most intriguing casting choices. For many Australians, his voice carries decades of childhood memory. Here, he delivered calm authority with a convincing 1930s accent and reassuring sincerity. “New Deal for Christmas” radiated communal joy and optimism. Visually, the production thrived on choreography and projections. “ NYC ” used video design and lighting to conjure bustling streets and Times Square. The pacing stayed brisk throughout. Possibly too brisk at times. Some relationships and stakes passed by in a blur, particularly in “Something Was Missing” and “I Don’t Need Anything But You,” which longed for a little more space to bloom. Costuming retained strong period identity. Lily and Grace’s wigs suited their polish. Annie’s initial straight bob wig was too tidy for a scrappy orphan in my opinion and often obscured her expression, as it was never tucked behind her ears. A bit more wildness or curl would have suited her. The orchestra sounded rich and buoyant, giving Strouse’s score the sweep it deserved. “ We’ve Got Annie ” was an emotional high point. The Christmas décor, Annie’s entrance, and the ensemble wrapped the moment in warmth. This was a polished revival of a beloved classic. It did not attempt to reinvent Annie . It celebrated it. It delivered spectacle, heart, and a full-length classic that families could share. Listening to “ Tomorrow ” echo around a theatre, I understand why this show refuses to fade. In a world that often feels grey, Annie still insists that tomorrow will be better. And judging by the smiles leaving QPAC, audiences are more than willing to believe her.

Title: Brisbane Presented By: Ad Astra Theatre Company Genre: Australian Drama Synopsis: A dynamic and genre-blending new play that shifts from family drama and farce to historical documentary, slapstick and cabaret, ultimately offering a moving coming-of-age journey. Audition Date: To be advised (anticipated around 10–12 January) Audition Time: To be advised Audition Location and Address: Galaxy Theatre, Ad Astra, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare two (2) suitable monologues - one comedic and one dramatic; audition will include cold reads from the script Applicants must email CV (Word/Google Doc) and a recent headshot, and specify desired role(s) Audition Registration: Email creatives@adastracreativity.com with required materials Audition Pack: Audition Notice Performance Dates: March 19 – April 11, 2026 Performance Times: Thursday & Friday nights 8:00pm, Saturday 7:30pm, Sunday 2:00pm Performance Location: Galaxy Theatre, Ad Astra, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: To be advised (typically two weeknights & one weekend day) Rehearsal Times: To be advised Rehearsal Location: Ad Astra rehearsal spaces Performer Age: Varies by role (e.g., 18s–40s+) Creative Team: Director - Fiona Kennedy Executive Producer - Gregory Wilken Production Website: Ad Astra Other Information: This production is co-op style; creatives share ticket sales after expenses. Available Roles / Character Breakdown: Danny Fisher (14) - ideally actor in late teens/early 20s Patty/Young Woman (14) - same age as Danny Frank Fisher / American Pilot / Andy West (18+) Rose / Woman (18+) Annie Fisher (Mother) - 40s John Fisher (Father) - 40s Ensemble Roles (various): Stanley, Robbie, Justin, General John Monash, Rose’s father, Prime Minister John Curtin, Winston Churchill, Radio Announcer, Franklin Roosevelt, Douglas Macarthur, Newsreel Commentator, Shop Owner, Publican, American soldiers, Australian soldier.

Title: The Miscast Musical Cabaret Presented By: Sun and Wine Arts Company Genre: Musical Cabaret Synopsis: The Miscast Musical Cabaret is a playful, celebratory evening of musical theatre with a twist. Performers are invited to sing songs they would never usually be cast in — whether due to age, gender, nationality, or type. Expect adults belting out children’s classics, unexpected casting choices, and familiar musical favourites turned on their head. This cabaret is about freedom, fun, and joyful subversion of traditional casting. Audition Self-Tape Due: Saturday 31 January 2026, 6:00pm Audition Requirements: Perform one full song from a musical The song must be a miscast choice (opposite of what you would normally be cast as due to age, gender, or nationality) Examples include adults singing children’s roles or performers tackling roles traditionally written for a different gender Audition Registration: Email self-tape to sun.wine.arts@gmail.com Performance Dates: 23–24 April 2026 Performance Location: Ron Hurley Theatre, Seven Hills Performer Age: Adult performers (18+) Other information: This is an unpaid volunteer-only production

Title: Romeo & Juliet (Shakespeare in Bloom) – Vocalists (Workshop & Performance) Presented By: Vox Theatre Arts Genre: Theatre / Shakespeare (with original music) Synopsis: Vox is creating a Shakespeare in Bloom reimagining of Romeo & Juliet, featuring original music with the Roman astrological gods narrating and “pulling the strings of fate.” Vocalists will help devise/compose the score through workshops, with an option to continue into the rehearsal/performance season. Audition Details: Audition Date : Virtual audition due 5:00pm, Thursday 15 January 2026  Vox Theatre 2026 Audition Requirements: Submit video audition links (YouTube/Google Drive – ensure sharing permissions are set) including: 1 x Classical/choir-style piece (max ~1 minute) 1 x Contemporary / folk / indie / lyrical piece (max ~1 minute) Upload Artist CV/Resume Upload Headshot (for socials/program if successful) Audition Registration: Submit the Google Form (includes uploading CV/headshot and providing video links) Audition Pack: https://www.voxtheatrearts.com/audition   Performance Dates: 17 – 26 September 2026 Rehearsal Dates: Workshopping / composition workshops: Sun 18 Jan (3:00pm–6:00pm) Sun 8 Feb (3:00pm–6:00pm) Thu 12 Mar (7:00pm–10:00pm) Thu 9 Apr (7:00pm–10:00pm) Thu 14 May (7:00pm–10:00pm) Rehearsal period (if continuing to performance): June – September 2026 (Tues/Thurs/Sun) Creative Team: Composer & Musical Director: Mark James Production Website: https://www.voxtheatrearts.com/audition   Other information: Vox Theatre location listed generally as Upper Mount Gravatt This is an amateur / volunteer opportunity (no paid roles) Vox annual membership fee: $25 (payable by close of first workshop/rehearsal) Must agree to Media Agreement + Code of Conduct (and willingness to share promo on socials is expected) Available Roles/Character Breakdown: Vocalist feature roles portraying Roman astrological gods: Luna – Soprano, femme-presenting, range ~C4–C6 (Goddess of the Moon; House Montague) Venus – Mezzo Soprano, femme-presenting, range ~A3–A5 (Goddess of love/beauty, etc.) Mercury – Alto, any gender, range ~F3–F5 (Messenger/underworld guide/trickster) Sol – Tenor/Baritone, masc-presenting, range ~A2–F4 (God of Sun; House Capulet) Mars – Baritone, masc-presenting, range ~G2–G4 (God of war/strategy) Jupiter – Tenor/Alto, masc-presenting, range ~D3–D5 (King of gods; sky/thunder) Saturn – Tenor/Baritone, masc-presenting, range ~A2–F4 (God of time/agriculture/wealth)

Title: Alice by Heart Presented By: Phoenix Ensemble Genre: Musical Theatre / Contemporary Pop-Rock / Ensemble Drama Synopsis: Wonderland isn’t what you remember. As war rages above ground, Alice Spencer and her childhood friend Alfred Hallam are trapped beneath the city in a tube station. Their shared escape is the story they once knew by heart, but as Alice guides Alfred through Wonderland, the tale shifts and deepens with them.From the creators of Spring Awakening, Alice by Heart is a haunting, imaginative ensemble musical about friendship, love, loss, and the resilience of the human spirit — and the courage it takes to let a story go. Audition Details: Individual Auditions: Friday 30 January 2026 (from 6:00pm) Saturday 31 January 2026 (from 3:00pm) Group Dance Audition: Saturday 31 January 2026 (choose one session): 11:00am–12:15pm OR 12:30pm–1:45pm Callbacks: Sunday 8 February 2026 (by invitation only, from 7:00pm) Audition Location and Address: Phoenix Ensemble (The Tin Shed / Pavilion Theatre), Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Group Dance Audition Venue: Beenleigh Neighbourhood Centre Hall Audition Self-Tape Due (if applicable): Video auditions accepted (email auditions@phoenixensemble.com.au for requirements) Audition Requirements: Dance (all auditionees except Young Alice & Young Alfred): Must attend a group dance audition on Saturday 31 January (11:00am OR 12:30pm session) You’ll learn two short routines and perform in small groups Wear dance-appropriate footwear (sneakers or jazz shoes) and clothes you can move in No thongs/crocs/open-toed shoes/jeans Individual Audition (Adult cast): Prepare two contrasting songs, max 1 minute each One folk style song One pop-rock style song Only one selection may be musical theatre repertoire Do not sing a song from the show No piano provided — bring backing tracks on an AUX-compatible device (speakers/cables/adaptors provided) Prepare one provided monologue (does not need to be memorised, but be familiar) Monologues must be performed in a General British accent Young Alice & Young Alfred: Only required to attend an individual singing and acting audition (no group dance call) Audition Registration: Book your audition online here Help / issues booking: auditions@phoenixensemble.com.au Audition Pack: Download here Monologues PDF: Download here Scheduling: Performance Dates: Performances commence Friday 1 May 2026 (4-week performance period) Performance Times: Friday & Saturday evenings Saturday matinees Performance Location: Phoenix Ensemble (Pavilion Theatre / “The Tin Shed”) Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Rehearsal Dates: Rehearsals commence Sunday 15 February 2026 Rehearsal Times: Monday 7:00pm–10:00pm Wednesday 7:00pm–10:00pm Sunday 1:00pm–6:00pm Warnings: Themes include death, loss, war, and trauma. Physical touch is required as part of choreography. Phoenix Ensemble will engage an intimacy coordinator and is committed to safe intimacy practices. Performer Age: Adults: must be 18+ by first rehearsal Young roles: 8–12 (stage age) Creative Team: Director – Hayley Gervais Musical Director – Rae Rose Choreographer – Hannah Macri Assistant Director – Sarah Bennett Production Website: https://phoenixensemble.com.au/audition/ Other information: Casting outcomes sent by Thursday 12 February 2026 Commitment expectations emphasise punctuality, professionalism, and declaring all conflicts upfront Successful cast must become a financial member of Phoenix Ensemble and hold (or be willing to obtain) a Blue Card This is an unpaid amateur production. Available Roles/Character Breakdown: ALICE SPENCER / ALICE Presenting gender: Female | Stage age: 18–25 Vocal range: G3–D5 Full of questions and stubborn determination, surviving displacement with imagination. Strong contemporary pop/rock voice. ALFRED HALLAM / WHITE RABBIT / MARCH HARE Presenting gender: Male | Stage age: 18–25 Vocal range: B2–A4 Alice’s ailing childhood friend; obsessive-compulsive; emotionally raw. Strong contemporary pop/rock voice. TABATHA / CHESHIRE CAT Presenting gender: Female | Stage age: 18–25 Vocal range: B♭3–D5 Street-smart leader in both worlds, guiding Alice toward acceptance and grief. RED CROSS NURSE / QUEEN OF HEARTS Presenting gender: Female | Stage age: 30–50 Vocal range: F#3–D5 Strict nurse in the real world; domineering Queen of Hearts in Wonderland. Tough, funny, sultry. HAROLD PUDDING / MAD HATTER / KNAVE OF SPADES / MOCK TURTLE Presenting gender: Male | Stage age: 18–25 Vocal range: C3–F4 Shell-shocked young soldier; manic charm. Demanding, riddle-filled Mad Hatter in Wonderland. DODGY / DUCHESS / MOCK TURTLE Presenting gender: Male | Stage age: 25–35 Vocal range: C3–E4 Flamboyant street urchin with “sticky fingers”; overdramatic, comedic Duchess. NIGEL / DORMOUSE / KNAVE OF CLUBS Presenting gender: Male | Stage age: 18–25 Vocal range: E3–B♭4 Frightened teen traumatised by bombings; sleepy Dormouse in Wonderland. ANGUS / CATERPILLAR / KNAVE OF HEARTS Presenting gender: Male | Stage age: 25–35 Vocal range: F3–B4 Working-class opium escapist; seductive, charming Caterpillar. DR. BUTRIDGE / KING OF HEARTS / JABBERWOCKY Presenting gender: Male | Stage age: 30–50 Vocal range: C3–G4 Nervous but threatening doctor; weak-willed King; terrifying Jabberwocky embodying Alice’s fears. CLARISSA / QUEEN OF DIAMONDS / MOCK TURTLE Presenting gender: Female | Stage age: 25–35 Vocal range: B3–D5 Once-wealthy, mean, and haughty; clings to class status amid war. YOUNG ALICE Presenting gender: Female | Stage age: 8–12 Vocal range: F#4–A#4 Appears in flashbacks; some singing lines. YOUNG ALFRED Presenting gender: Male | Stage age: 8–12 Vocal range: C#4 Playful and present; appears in flashbacks; some singing lines.

Title: Ophelia Chooses Presented By: Ipswich Little Theatre Society Inc. Genre: Comedy/Drama Synopsis: Ophelia Chooses is a playful reimagining of Shakespeare’s Hamlet in which Ophelia, aided by a modern-day playwright and feminist, gains agency and challenges the male-centric world and even Shakespeare himself to take control of her destiny. Actors move between Shakespearean language and contemporary text as the story unfolds. Audition Date: February 2nd, 2026 Audition Time: 7:30PM Audition Location and Address: Audition address provided upon registration Audition Requirements: Prepare a Shakespearean soliloquy (comedy, tragedy, or history) Cold reads from the script will be required Actors must be comfortable switching between Shakespearean and contemporary language No accent requirements Audition Registration: Via the ILT audition form or by contacting the Director. Audition Pack: Available on request from the Director. Performance Dates: May 14th - 31st, 2026 Performance Times: Evening performances with possible matinees (to be confirmed) Performance Location: Ipswich Little Theatre, Burley Griffin Drive, Ipswich QLD Rehearsal Dates: TBA (generally weekly from late February) Rehearsal Times: Evenings and/or weekends Rehearsal Location: Ipswich Little Theatre rehearsal spaces Warnings: Adult themes and language; Shakespearean text Performer Age: Roles range from late teens/20s through mature adults Creative Team: Director – Alison Lees Assistant Director – Robyn Flashman Production Website: ILT - Ophelia Chooses Other Information: ILT membership may be required to partake in the play Available Roles / Character Breakdown: Ophelia – Dutiful young woman (18+) who discovers her own agency Fay – Modern feminist and playwright (40–60) Hamlet – Prince of Denmark (20s+) Laertes – Ophelia’s protective older brother (20s+) Polonius – Ophelia’s traditional father (60s+) Claudius – King of Denmark (40s+) Gertrude – Queen of Denmark (40s+) William Shakespeare – The playwright himself (40s+) Additional ensemble/support roles as required

Title: 2026 ROCKIT Musical Theatre Summer School – High School Musical Jr Presented By: ROCKIT Productions Genre: Musical Theatre / Theatre Workshop & Performance Program Synopsis: A week‐long musical theatre intensive culminating in a performance of High School Musical Jr, inspired by the Disney Channel movie and High School Musical: The Musical: The Series. Participants train, rehearse, and perform in singing, dancing, and acting workshops. Audition Date: 10 January 10th, 2026 Audition Time: Approximate group times (subject to change): Group 1: 10:00 – 11:30 am Group 2: 11:45 am – 1:15 pm Group 3: 1:30 – 3:00 pm Callbacks (if invited): 3:30 – 7:30 pm Audition Location and Address: Launchpad Theatre & ROCKIT Productions, 36 Old Cleveland Road, Capalaba QLD 4157 Audition Self-Tape Due (if applicable): Video auditions accepted if unavailable on the audition day Audition Requirements: Auditions are optional for featured roles — participants can audition for roles including lead, supporting, featured vocalist/dancer, or ensemble. Audition pack emailed upon registration. Audition Registration: Enrol via the ROCKIT Productions website & RMTSS26 enrolment form (registration required to receive audition pack and audition info) Audition Pack: Sent by email upon registration (contains specific materials and details) Performance Dates: Performance(s) as part of the week-long Summer School: likely Saturday 17 January 2026 (details provided upon enrolment) Performance Times: Provided in audition pack / enrolment confirmation) Performance Location: Launchpad Theatre, 36 Old Cleveland Road, Capalaba QLD 4157 Rehearsal Dates: Monday 12 January – Saturday 17 January 2026 (week-long intensive rehearsal schedule) Rehearsal Times: 9AM – 5PM daily (drop-off from 8:30AM, pick-up until 5:30PM) Rehearsal Location: ROCKIT Productions / Launchpad Theatre, Capalaba QLD 4157 Performer Age: Open to students in Grade 5 to Grade 12 plus ages 17-19 (streamed into appropriate age groups) Creative Team: Company Director / Choreographer – George Canham Vocal Director – Aysa Garcia Wong Design / Producer – Shaun Kohlman Production Website: ROCKIT Productions - High School Musical Jr Other Information: Full week musical theatre intensive with performance at the end of the program. Early bird discounts available on enrolment fees. Suitable for multiple experience levels.