I deeply admire that a group of young performers can put together a full-length musical in just one week. Memorising lines, learning choreography, navigating microphones, and for some, stepping into their very first lead role. That takes courage. That takes teamwork. That takes heart.   Second Star Youth Theatre’s holiday production of The Lightning Thief  was exactly that: heartfelt, ambitious, and full of young artists giving it everything they had. Based on the novel by Rick Riordan, The Lightning Thief  follows Percy Jackson, a teenager who discovers he is the son of Poseidon. Thrown into the world of Greek gods and demigods at Camp Half-Blood, Percy must embark on a quest to retrieve Zeus’ stolen lightning bolt and prevent a war among the gods. Along the way, he learns that the very things that make him feel different might actually be his greatest strengths.   With a large and enthusiastic cast, the opening number burst to life with strong energy. From the outset, it was clear this group was committed. The plot of this show moves at lightning speed (pun absolutely intended), and while it can be tricky to follow every detail, I just enjoyed it for the vibes. Jayce Parkin (Percy)  anchored the show as our unconventional hero. I found Jayce to be a talented actor who puts a lot into the role. Slowing down dialogue in scenes will emotional moments to land even more clearly, especially in a show that moves at such a fast pace. Ruby Rowe (Annabeth)  delivered strong vocals, particularly in her big feature “My Grand Plan”. While pitch wavered at times, her clarity of articulation and confident stage presence stood out. There’s a solid leading-lady foundation there. Isabel Notari-Markey (Grover) really dedicated herself to the sidekick role. With more experience, her confidence will definitely boost. Isabelle Harris (Sally)  offered a very sweet vocal tone, with “Strong” living up to its name as one of the more musically secure moments. Harper MacGregor (Luke)  impressed with a strong contemporary sound, particularly in “Put You in Your Place,” which featured fun battle-style blocking. It was one of the more theatrically cohesive numbers of the show. Mia Morrison (The Oracle) , whose vocal performance in “The Oracle” cut beautifully through the space. A clear standout vocal moment. Sacha Fleming (Mr D)  gave consistently strong character acting. The cameo appearances from Nevayah Cullen (Ares) , Ivy Harle (Poseidon) , and Jeremy Sievers (Hades)  added fun theatrical flair and helped bring the mythological world to life. Musically, “Killer Quest,” “Drive,” and “Son of Poseidon” were energetic highlights that showcased the ensemble’s stamina and commitment. Directed and musically directed by Lauren McNamara , with choreography by Sonya Wyer , the production moved briskly. The plot of The Lightning Thief  is dense, and while you don’t necessarily need to follow every beat, clearer diction and slightly slower pacing in dialogue would help storytelling land more easily. Microphone balance proved a bit challenging throughout the performance. A little tip for our budding performers: microphones amplify you. So giving clear, supported speech will carry further than shouting or pushing your voice into "screech mode". Costuming was simple and age-appropriate, fitting the tween-camp aesthetic of the show and allowing the performers to move comfortably.   This was a charming production, buoyed by courage and enthusiasm, which is often the nature of ambitious holiday youth productions. What stood out most was not perfection, but commitment. You could see young performers learning in real time, stepping into leadership roles, and supporting one another. The talent is clearly blooming here. Strong comedic instincts exist within this group, so I think leaning into either a more defined comedy or a more widely known title in future seasons could allow the performers to settle into material more quickly and confidently. Youth theatre is about growth, courage, and finding your voice. And there was plenty of that on display here! Second Star Youth Theatre is a promising new presence in Brisbane’s youth arts community, and I look forward to seeing how they continue to develop.

Photography by Creative Street Lisa Alsop (Kate), Samantha Sherrin (Elizabeth), Isaac Brown (Lucas) What if one choice — left or right, yes or no, answer or ignore — could change everything? Every choice leads us somewhere, opening one door while closing another. If/Then  is a musical all about those little choices that change our lives in big ways. With its powerhouse score, clever sliding-door narrative, and bold ballads, it’s a rare Broadway gem now landing in Brisbane. This VOX Theatre Arts production is brought to you by producer Rhona Bechaz, director Hayley Gervais , choreographer Ruby Thompson , and music director Alex Angus . I’m here to give you the insider scoop from the team about their own “what if” moments, the challenges of telling two stories at once, and why this production is so special to us. Cameron Rollo (Josh) and Sam Sherrin (Liz) A RARE BROADWAY GEM The story will whisk you away to New York City, where Elizabeth’s life branches into two possible paths: one as Liz (the one with glasses) and the other as Beth , following her down the roads she takes and the ones she leaves behind. Samantha Sherrin  ( Guys and Dolls, Xanadu, Jekyll and Hyde ) takes on the monumental role(s) of Elizabeth. Playing opposite her is the “how can someone so handsome be so awkward” Cameron Rollo  ( Jekyll and Hyde, Company ) as Josh, the army medic whose chance encounter with Liz alters everything. For Samantha, stepping into a role originated by musical theatre royalty Idina Menzel ( Frozen  and Wicked ) has been both daunting and exhilarating. But she is thrilled for audiences to finally see this special show: “There’s so much happening across the multiple timelines that everyone will find something to relate to, especially us over-thinkers and people pleasers!” And for anyone wondering what lesson she takes from Elizabeth’s journey? Samantha believes the message is clear: “This show tells us that whatever is meant for us will find us, and not to get lost in the ‘what might be’s.’” Lisa Alsop  ( Legally Blonde, Carrie ) brings fiery passion as Elizabeth’s fiercely loyal neighbour Kate, alongside Micheal Enright  ( Fun Home, The Addams Family ) as Kate’s partner Anne. Making her stage debut is Amiel Morris  as Elena, Beth’s confidante through her toughest life decisions. Dominic Bradley  ( The Crucible, The Importance of Being Earnest ) takes on the role of Beth’s boss Stephen, while Isaac Brown  ( Ride the Cyclone, Jesus Christ Superstar ) plays her activist friend Lucas, with Jackson Muir  ( My Fair Lady, Chess ) as his romantic interest David. Phew! You still with me? I asked Rhona Bechaz , artistic director for VOX Theatre Arts, what drew her to this stunning 2014 Broadway musical. Confession time: I myself had only ever heard two songs from it now... I know, extremely slack for someone who lives and breathes musicals! Rhona explained: “I was drawn to If/Then for its raw, real stories and characters, and the incredible musical score. I knew that Hayley’s fresh take on the story would be incredible, and I really wanted to see it come to life under her direction.” She’s talking about Hayley Gervais , the well-known artistic director of Phoenix Ensemble, who has directed countless productions and brings her signature heart to this multiverse tale. Micheal Enright (Anne) and Lisa Alsop (Kate) SONGS THAT HIT HARD Our music director Alex Angus  deserves superhero status for steering us through this score and for conducting the formidable 13-piece orchestra. The rhythms in This Day  are wild, the key changes in It’s a Sign  are relentless, and some numbers split into eight-part harmonies that make my brain do flips! For many cast members, the music is what makes this show so powerful. Cameron Rollo  admits: “Isaac’s solo ‘You Don’t Need to Love Me’ hits the hardest for me, with ‘I Hate You’ a close second. Sam’s acting breaks my heart so much that it makes me reluctant to leave the stage, even though my character must do so.” Lisa Alsop  agreed that the emotions come thick and fast when “Samantha Sherrin sings literally anything. She is my theatre crush! ‘Love While You Can’ (a stunning duet between Kate and Anne) is almost impossible to get through without crying.” For Amiel Morris , the impact is equally powerful: “I’ve literally never made it through this show without crying… ‘Always Starting Over’ (the mammoth five-minute ballad from Sam) has a special place in my heart.” And Ryan Bascle , also making his stage debut, added: “‘No More Wasted Time’ knocks my socks off every time. The harmonies of these four powerhouses at once reverberates within my soul. Couple that with a message of breaking out of patriarchal expectations and you get to the heart of what I think this show is about: forging your own path regardless of the direction or outcome.” From my own spot in the ensemble, I can confirm there’s no lull in this score. It’s a true no-skip album, with numbers like What the F*ck ?, Ain’t No Man Manhattan , Surprise , and of course What If?  Each is a multiverse adventure that will leave you breathless to see how profoundly the timelines diverge. Rounding out the ensemble is Molly Parker, Alicia Brite, Casper Haringcaspel, Ryan Bascle, Mark James and yours truly, Samantha Hancock . And let me just say: this ensemble is the hardest-working bunch of NPCs I have ever worked with. We might be background New Yorkers, but we give it our all in every crosswalk, coffee sip, and subway shuffle. Isaac Brown (Lucas) and Jackson Muir (David) CHALLENGES AND REWARDS Tackling a Broadway show this complex isn’t a walk in the park. For Cameron Rollo , the challenge is vocal: “handling the high G# I have to keep singing!"   Jackson Muir  is breaking new ground: “This is the first time I’ve been in a role where my character is in a relationship.”   Dom Bradley  reflected on walking the fine line between Stephen’s flaws and his humanity: “He could be played as a complete asshole, but I like to think he’s got good qualities.” Lisa Alsop  added that part of the reward has been the process itself: “This show has so many different ways it can be interpreted, so it’s been really rewarding hearing each actor’s perspective for their character and working with such a talented group of people to present a considered and impactful performance.” Lisa Alsop (Kate), Amiel Morris (Elena), Sam Sherrin (Beth), Micheal Enright (Anne) WHAT AUDIENCES CAN EXPECT What makes If/Then  unique is its sliding-doors structure. Dom Bradley  said: “I think audiences will enjoy all the times we see a scene twice. There are many moments we do a scene, the worlds swap, then we see it again in the other timeline.” There are plenty of hidden gems too. Lisa Alsop  hinted: “The saga of Kate’s ring is something the audience might not notice, but we’ve put thought into.”  Plus, my own little background romance with “sexy guitar guy” might not be something audiences consciously notice, but it’s a detail we’ve woven into our tracks because this show is all about those unseen choices and connections. Rhona Bechaz adds, “I hope the audience finds special moments of reflection in the story. I personally find so many places where theatre mirrors life, and I know our audience will see themselves in the characters and their stories. I hope they leave with both a tear and a smile — our goal in theatre is to make our audience connect with our stories, and this one absolutely ticks ALL the boxes!” And after being part of the rehearsal room, I can safely say Rhona was right. ADVICE FOR ELIZABETH When asked what advice they’d give Elizabeth, the cast had plenty to say. “Choose out of love, not out of fear,”  said Cameron Rollo . Lisa Alsop’s  response was lighter: “Have a bev and chill out a bit.”   Dom Bradley  went straight to the point: “Make a f* cking decision. Don’t worry about the what-might-have-beens. Just think about what could be.” Ryan Bascle  offered this thoughtful advice: “I think I’d tell Beth the same thing I try to remind myself and others often — trust yourself. You never know if a decision is right until after you’ve made it, so trust yourself to handle it when things don’t go the way you’d hoped, and to be able to appreciate the good things that come while they’re there.” Sam Sherrin (Beth) and Dominic Bradley (Stephen) Like Elizabeth, I have plenty of “what if” moments that replay in my mind. What if I had stayed in the career I was building before COVID pulled the rug out from under me? What if I had never posted that video of me singing, the one that was seen by the right person and swivelled my life in a completely new direction? Would I still be here, telling stories on and off the stage? Or would I be sitting in an office somewhere wishing I had followed the music instead? The roads not taken are always tempting to imagine. That’s why If/Then  hits home for so many of us. It’s not just Elizabeth's story, it’s all of ours. Every decision we make, or don’t make, nudges us in a new direction. Being part of this show reminds me that while we can’t live both timelines, we can choose to embrace the one we are in fully. As the lyric says, “You learn to love the not knowing...” Yes, you’ll laugh, you’ll cry, and you’ll leave reflecting on your own “what if” moments. Performances run at Arcana, 46 Evesham Street, Moorooka on Friday 10 and Saturday 11 October. Tickets are $49 (concession $45, groups 10+ $39) and are available now ! One woman. Two paths. Infinite possibilities.

Ipswich Musical Theatre Company | Book, Music & Lyrics by Irene Sankoff & David Hein Directed by Thomas Armstrong-Robley Music Direction by Matt Rofe Choreography by Simon Lind Photography by Justin Marriner Ipswich Musical Theatre Company delivered a deeply moving and impressively polished production of Come From Away , a story that has travelled the world yet somehow felt right at home in this community setting. Before the show even began, the pre-show airport announcements, the sticker map marking where audience members were “from,” and the fully visible set instantly transported us to Gander Airport in Canada. Wooden and plastic crates, metal sheeting for wings, and crisp multimedia projections created a rugged environment that looked part-airport terminal, part-makeshift shelter. For anyone new to the show, Come From Away  recounts the astounding true events of September 11, 2001, when airspace over New York shut down and 255 planes were diverted across Canada. Thirty-eight of those planes landed in Gander, Newfoundland, dropping almost 7,000 stranded passengers into a town whose population nearly doubled overnight. Among them was Beverly Bass, the first female captain of American Airlines. Drawing from interviews with locals, pilots, and flight crews, writers Irene Sankoff and David Hein crafted this musical capturing five extraordinary days of fear, generosity, humour, and humanity. It remains one of the most powerful reminders of how compassion can (and should) rise from tragedy. Director Thomas Armstrong-Robley  and choreographer Simon Lind  embraced the show’s famously complex staging with intensity and precision. With each actor playing multiple characters and the set constantly shifting through chairs, tables, crates, and bodies, this production required perfect timing. The pacing felt urgent without being rushed, driven by pounding percussion, jet-engine soundscapes, and an ever-present undercurrent of chaos because... “I can’t watch the news anymore!" Grant Couchman  set the tone with his commanding voice in “Welcome to the Rock,” leading an ensemble that worked with near-military discipline. From there, the performances never dipped. Amy McCormick  brought youthful sincerity and excellent accent work to Janice, the local news reporter. Stu Fisher’s portrayal of the diligent policeman Oz was a comedic delight, featuring a booming voice that never failed to make an impact. Kate Retzki  as Bonnie radiated headstrong determination as she cared for the animals onboard, while Jacqui Cuny’s Beulah glowed with maternal warmth. She truly felt like the Gander mother hen, offering comfort to all. Danika Saal delivered a moving portrayal of Hannah. Her far-too-short solo, “I Am Here,” carrying the full weight of a mother’s panic as she waited for news of her son in New York. Georgia Spark’s Beverly Bass was sensational as Beverly Bass, handling the lengthy solo “Me and the Sky” with beautiful vocals and grounded storytelling (pun intended). I loved the way the cast circled her for this number, especially the all-female crew; an image that beautifully honoured the trailblazing pilot she portrayed. Georgia also had a fantastic Texan “teacher voice”, commanding the space with easy authority. Jacob Ballard  offered crystal-clear diction and thoughtful acting as Kevin T, leading “Prayer” with a stunning, angelic vocal line. Michael Fitzpatrick , Daniel Walton , Barry Haworth , Justin Harreman , and Bronte Mitchell  provided humour, heart, and seamless shifts between characters. Special mention must go to Stuart Manuel, who made his stage debut as Ali and gave a wonderfully natural performance, navigating the racial tensions of the moment with honesty and control. Staging-wise, “28 Hours” captured the mass hysteria with clever blocking that eventually settled into humour (the liquor onboard certainly helped!). “Darkness and Trees” was chilling, while “On the Edge” surged with epic lighting design and emotional panic. “Heave Away” offered a joyful burst of live musicians onstage (far too briefly) and treated us to a dance-off with Simon Lind's choreography. Vocally, the show was exceptional. “Somewhere in the Middle of Nowhere” filled the theatre with soaring harmonies, and “Lead Us Out of the Darkness” used reverb to beautiful effect. The nine-piece band, led by MD Matt Rofe , sounded phenomenal and anchored the show throughout, even when hidden from view. The emotional aftermath was handled with great care. “Something’s Missing” was bathed in soft, evocative lighting, with grief and rage flickering across faces as the reality of loss finally landed. I found myself thinking again and again about the exhaustion these real passengers must havefelt: the fear, the homesickness, the survivor’s guilt... and how remarkable it was that this tiny town met them with such kindness instead of hostility. There were almost no flaws in delivery, sound, or staging. This was a huge, ambitious undertaking, and Ipswich Musical Theatre Company more than rose to the challenge. Though I couldn’t name every single performer in this exceptionally large ensemble, please know that each one contributed to a cohesive, special, and powerful piece of theatre. This production honoured the real people and real events behind Come From Away , reminding us once again of the best parts of humanity during the very worst of times.

Title: OZ (Inspired by Wicked and The Wizard of Oz) Presented By: Toowoomba Ballet Theatre (TBT) Genre: Dance theatre – ballet, jazz, contemporary, acrobatics (all-styles) Synopsis: A large-scale, original TBT production inspired by the worlds of Wicked and The Wizard of Oz. Expect an ensemble-driven adventure through Emerald-hued realms with feature moments for classical, contemporary and acro specialists. Created to showcase regional dancers in a full professional venue with cinematic scale. Audition Date: Sunday 9 November 2025 Audition Time: Class times advised after registration (grouped by age) Audition Location and Address: TBT Studios, 9 Railway St, Toowoomba City QLD Audition Self-Tape Due (if applicable): Video auditions accepted; due Sunday 2 November 2025 Audition Requirements: Register online and upload a headshot (clear, recognisable). In-person audition (preferred): short classical technique class (+ pointe if appropriate), taught combos, and an optional solo (≤2 min) in your best style (classical, contemporary, jazz, acro, etc.). Special skills on apparatus (e.g., lyra/silks) may be submitted by video. Video audition option (if you cannot attend): include barre/centre, solo/variation and any skills footage (clearly identify the dancer). What to wear: Plain leotard and ballet tights for classical; fitted shorts/half-tutu permitted for solo. No costumes/props. Hair in neat classical style. You may miss up to three rehearsal days for pre-existing studio commitments (catch-up via rehearsal videos required). Audition Registration: https://form.jotform.com/251982516106861 Audition Pack: 2026 Prospectus (dates, fees, policies): https://www.toowoombaballettheatre.com.au/audition Performance Dates: Sunday 19 April 2026 (matinee & evening) Performance Location: Empire Theatre, Toowoomba Rehearsal Dates: Sundays in Term 1 (Studios): 8, 15, 22, 29 March 2026 School Holidays – Week 1 (Studios): Mon 6 – Fri 10 April Photo Day: Sat 11 April School Holidays – Week 2 (Studios): Mon 13 – Fri 17 April Stage Rehearsal: Sat 18 April Performer Age: 8+ (age as at 1 Jan 2026). No upper age limit. Adults (18+) welcome. Other information: Registrations close: Sunday 2 November 2025 (strict). Fees: Production fee $849 per dancer (includes rehearsals, costume hire, production shirt, 2x tights, videography, insurance/admin). Deposit $250 (non-refundable) secures your place after offer. Adults (18+) receive 50% fee reduction. Payment plans available. Casting is at the Artistic Director’s discretion; some dancers may shadow/understudy roles. Available Roles/Character Breakdown: This is an original, Oz-inspired creation. Casting will be built around the company’s strengths with roles drawn from Emerald City citizens, witches, wizards, travellers, guardians, and realm creatures. Opportunities for: Classical/neo-classical features (court/emerald ensembles, waltzes, lyrical solos) Contemporary & character work (witches’ courts, citizens, storytellers) Jazz & musical-theatre numbers (city scenes, travellers, guards) Acro/contortion/tumbling highlights (creatures of the realms, storm sequences)

Title: School of Rock (Musical) Presented By: Passion Productions Genre: Rock Musical / Comedy Synopsis: Based on the hit film, School of Rock follows wannabe rock star Dewey Finn who fakes his way into a substitute teaching gig at an elite prep school—then secretly turns his class into a kick-ass band bound for Battle of the Bands. It’s rebellious, high-energy, and all heart. Audition Date: Saturday 6 December 2025 (group calls) Audition Time: You’ll be allocated a 60-minute group slot after registering Audition Location and Address: Northgate Hall, 71 Scott St, Northgate QLD 4013 Audition Requirements: Dance: Learn the combo in advance (taught briefly on the day). Choreo video in pack. Singing (Adults): 30–45 sec each of two MT songs — one rock style + one classical/traditional MT. Singing (Kids): 30–45 sec own choice song and set cut of “Stick It to the Man” (link in pack). Acting: Cold reads may be requested at audition or callbacks; no prep needed. Bring a device for your backing tracks; wear clothes/shoes you can move in. All performers 18+ must hold a current Blue Card. Audition Registration: Register for a timeslot (Airtable) Audition Pack: Info Pack (PDF) Performance Dates: 10–12 April 2026 (possible extension to 18 April based on sales) Rehearsal Dates: From Sunday 18 January 2026 (full schedule linked in pack) Rehearsal Times: Thursdays 6:30–10:00pm & Sundays 10:00am–4:00pm (Bardon Hall) Callbacks: Sunday 7 December 2025, 2:00pm at Northgate Hall Warnings: Family musical with mild language and references (swearing by adult and child cast in context), references to alcohol/drugs, characters defying authority. Full list of scripted words provided in the Info Pack. Performer Age: Adults & teens: 15+ (adult ensemble/roles); Kids’ roles as per character list below. Production Website: https://www.passionproductions.com.au/auditions Other information: Community theatre; unpaid, no production fees or mandatory membership. Cast may be asked to assist with sourcing basic costume pieces/props (designer-approved). Available Roles/Character Breakdown: Adults Dewey Finn (mid-20s–30s) – High rock tenor (B2–E5, head belt). A lovable, chaotic rock tragic who transforms his class into a band. Strong comedy/improv; basic guitar a must. Rosalie Mullins (mid-20s–30s) – Soprano with operatic top and strong belt (A3–D6). Strict headmistress with a buried rock heart. Precision, authority, and a secret love of Stevie Nicks energy. Ned Schneebly (mid-20s–30s) – Rock bari-tenor (C3–F#4). Ex-rocker turned timid man-child under Patty’s thumb; Dewey’s old mate. Patty Di Marco (mid-20s–30s) – Belt (B3–E5). Ned’s no-nonsense partner; pragmatic, protective, and allergic to Dewey’s chaos. Adult Ensemble – Teachers, parents, and featured cameos (e.g., Jeff Sanderson – Battle of the Bands manager; Theo/Doug/Bob/Snake – No Vacancy; Stanley; Security Guards 1 & 2). All vocal ranges; character acting; light movement. Kids – Instrumentalists (playing the instrument is a strong plus but not always mandatory) Zack (guitar) – (A3–D5) Gifted but stifled; angry at not being heard. Finds voice through lead guitar. Lawrence (piano/keys) – (A3–D♯5) Shy brainiac; blossoms under Dewey’s encouragement. Freddy (drums) – (A3–D5) Boundless energy; rough-around-the-edges kid who channels it at the kit. Katie (bass) – (A3–D5) Cool, calm anchor of the band. Minimal fuss, maximum groove. Kids – Non-Instrumentalists / Featured Tomika – (A3–G5) New kid with powerhouse voice; quiet until she isn’t. Soulful belt. Summer – (A3–D5) Type-A class leader; self-appointed manager who keeps Dewey honest. Marcy & Shonelle – (A3–G5) Sassy, tight backing vocalists; blend and stage presence. Billy – (A3–D5) Budding fashionista; comic flair with heart. Mason – (A3–D5) Tech whiz; clever problem solver. Sophie, James, Madison – (A3–D5) Ensemble kids with pop/rock vocals; learn multiple tracks.

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett Co-Creator, Writer and Performer: Sheridan Harbridge Co-Creator, Director & Producer: Sarah Goodes Co-Creator, Musical Director and Performer:  Glenn Moorhouse Lighting Designer:  Paul Jackson and Spencer Herd Photography: Pia Johnson Musicians: Dave Hatch (Drums) Ben Cripps (Bass) Clarabell Limonta (Keys) As soon as Sheridan Harbridge stepped onto the stage in her black, tight leather skirt, low-cut top, and long, diamante-studded dress coat, the audience knew she was an actor and singer capable of capturing the essence of the iconic Chrissy Amphlett. The band struck up the opening guitar riff of “I’ll Make You Happy” and the audience (mainly made up of those that had lived through the Divinyls period of the 80s/90s) was immediately on board for the journey. It’s a wonder no one has thought to put together such a show before now about such an iconic female Aussie rock performer. Sheridan and co-creator Sarah Goodes took the audience through songs and anecdotes about Chrissy’s life before, during, and after the Divinyls – her defining era in Australian music history. Sheridan nailed Chrissy’s punk-rock chick persona, pouting and enunciating in the distinctive style that made Chrissy so unique in the 80s male-dominated Aussie rock scene. The interaction with the audience, sometimes as herself and sometimes as Chrissy, made for a genuine connection that the audience bought into and loved. Sheridan described the journey she was presenting as "a galaxy of stories in our collective sky" . The metaphor of a crow was used to good effect throughout the performance to highlight various stages of Chrissy's life. Stories were told from the point of view of her bandmates, friends, and even fans of that time. Sheridan, with her mix of swearing, gesturing, and prowling the stage, convinced those of us who weren’t around during the 80s/90s music era that we were witnessing someone who truly terrified, aroused, and shocked audiences of that time. I believed in the embodiment of this brash artist who could exude both audacious energy and vulnerability, along with subversive humour in her lyrics and performances. There were stories aplenty about legendary gigs performed, taboos broken, and secrets held about what actually went on in that iconic band. The sad parts of Chrissy’s life – her early abusive childhood, tempestuous relationship with bandmate Mark McEntee, and drug and alcohol use, were handled with sensitivity within the mostly upbeat and raucous telling of her story. As were her later health issues – a diagnosis of MS and then breast cancer - which took her life in her early 50s. The band – comprising guitar, bass, keyboards, and drums supported Sheridan with ferocious playing and backup with some songs true to the recordings and some given a different arrangement that was no less engaging. They played the iconic intro to "I Touch Myself" multiple times, only to be interrupted by Sheridan delivering another anecdote or engaging with the audience. At one moment, she even ventured into the crowd to retrieve a woman's handbag (a move Chrissy reportedly did at a gig once), emptied its contents on stage, and commented on them – clever and witty! The lighting enhanced the song performances, showcasing the band and Sheridan in different ways during full band pieces, or by using a single spotlight on her as she sat on a stool for a more introspective song like " Elsie ." All the Divinyls bangers were played, including "Pleasure and Pain" , " Boys in Town", " Science Fiction " and, naturally, "I Touch Myself" as the grand finale . By the end of the tour de force performance, Sheridan had given her all, and the audience was standing, singing, and applauding. This story of Chrissy Amphlett was delivered by a seasoned artist who surely knows it’s a fine line between pleasure and pain, and served up for an audience who loved her captivating performance. It would be a shame to leave this show only as part of the Brisbane Festival as I’m sure it would be well received by audiences around Australia if it was ever toured.

"OMFG - Oh My Fairy Godmother" Presented at Phoenix Ensemble, IQ Productions’ Disenchanted was a night of cheeky chaos and sassy princesses, all wrapped up in a concert-style extravaganza. Imagine a feminist fairy-tale fever dream where every storybook heroine decides she's had enough, snatches a microphone, and spills the tea on everything that has been on her mind. Directed by Louella Baldwin and with choreography by Isabelle Quayle , the team leaned into this whimsical satire with full commitment, crafting a slightly deranged cabaret that seemed like an absolute blast to be part of! The opening number One More Happ’ly Ever After set the vibe immediately. Snow White, Cinderella, and Sleeping Beauty burst onstage with killer vocals and girl-group energy. Ally Hickey as Snow was the sassy, witty, and confident ringleader of this princess posse. Kaitlyn Burton gave Cinderella a wonderfully ditzy charm (my pick for strongest character work of the night). Mikaela Bobart played the dry, deadpan humour of Sleeping Beauty before surprising me with her angelic but booming vocals in Perfect . And the tap break from Ally, Loretta Melit, and Kaitlyn was a fun bonus! Chynna Santos was fierce as Mulan, absolutely obliterating the patriarchy in her solo Without the Guy . Her comedic timing had that “first time ever performing this” kind of spark. She and Kaitlyn fed off each other perfectly, with a cheeky, natural rhythm. Rhea Basha has a voice that could make a siren jealous, but she went full-on gremlin mode as Ariel in Two Legs (loved the crazy eyes!) Then she flipped the script and dazzled us all as a snappy, sassy Jasmine in Act Two. Meanwhile, Nadia Low's Pocahontas broke my heart during Honestly , serving up a down-to-earth performance with some beautiful belts and a costume that was one of my top picks of the night. Speaking of costumes: Breanna Gear absolutely understood the assignment. The Six -inspired silhouettes, the holstered mics, the clever little details — Cindy’s shoes, Ariel’s fork bracelet, the leaf ornament in Pocahontas’ hair — it was all spot on and so much fun to clock from the audience. Act Two shook up the casting. Loretta Melit , who had crushed it in Act One as Belle in Insane , stormed back in as an aggressively German, underpaid Rapunzel for Not Von Red Cent. Despite batling a lost voice (which definitely deserves a medal), she somehow managed to stir up our small audience into a frenzy with her energy! Senuki Thotahewage as Tiana absolutely nailed my favourite song of the entire show Finally , complete with a quick costume change, insanely good vocal runs, and fabulous choreography that had me crossing my fingers she'll get to play Tiana for real one day. Snow’s song A Happy Tune? is honestly my new personal anthem, and the finale Once Upon a Time was a killer closer, even if some lyrics got swallowed in the sound mix. And I can't forget the number Big Tits , which was just as bonkers as the title suggests! The band trio of Marcelle Gun, Phil Kan , and the maestro of melodies, Benjamin Richards , kept the performers grooving with a lively sound. Their reactions to the onstage shenanigans cranked up the fun too. The humour was very American in style, loaded with stereotypes and intentionally provocative. As a lifelong Disney lover, I could appreciate the parody even if the show itself was not entirely my cup of tea. Despite the small audience on the evening I went, the cast still delivered full energy to make it a chill and fun evening with just enough audience participation to keep us safe from the spotlight (thank goodness!). In the end, Disenchanted ! was chaotic, colourful, and packed with strong vocals, witty tidbits, and characterful details. Photography by Puddleduck Pictures

TINA — A Tropical Love Story absolutely lit up the Brisbane Festival, blending the sultry pulse of the tropics with the unstoppable electricity of Tina Turner herself.   This vibrant drag-cabaret hybrid, created and performed by the magnetic Miss Ellaneous (Ben Graetz), unfolded as a heartfelt love letter to Darwin, to identity, and to the Queen of Rock ’n’ Roll. From the moment the show launched into “Higher”  with a burst of sequins and choreography, the packed house roared in approval... and they never quieted down! Graetz, born in 1977 and raised on disco, swept us through stories of growing up in Darwin and the life-altering moment a young First Nations boy watched Tina Turner dominate the stage in 1993. Those memories flowed beautifully between numbers, accompanied by projections, haze, and twinkling light poles that shimmered like raindrops. The wigs? Iconic. The heels? Crazy. The legs in those heels? Show-stopping. The soundtrack used live Tina concert tracks, giving the entire night a pulsing, stadium-concert feel. Local talent Garret Lyon delivered a moody and soulful “I Can’t Stand the Rain,”  while Kristal West belted the Tina  musical’s arrangement of “River Deep, Mountain High.”  Even if she didn’t quite hit the hurricane-force energy that song demands, her vocal runs were fabulous.   And then there's the costumes: vibrant, sparkly, and fabulous! Ben’s third look, a Tina dress inspired by the Aboriginal flag, had me floored. Miss Roymata Holmes (Martoya Jackson) strutted through “Simply the Best” in full blonde-wig glory, dedicating the number to First Nations performers everywhere. Between the sultry “Private Dancer” moment, the fierce confidence in “What’s Love Got to Do With It?”,  and a tender rainbow-community duet of “We Don’t Need Another Hero”  with Garret and Kristal, the show held space for joy, resilience, and pride. As Ben said, “She connects us in so many ways.”     By the finale, the crowd was itching to get on their feet. This show would thrive in a venue like The Tivoli or Fortitude Music Hall where dancing is encouraged! A dazzling, heartfelt celebration of country, community, and the icon who helped a young boy find himself. Please bring this one back — Brisbane wants more!

Title: Shrek the Musical (Holiday Workshop Production) Presented By: Communication in Action Genre: Musical Theatre (Comedy, Family, Fantasy) Synopsis: Based on the Oscar-winning DreamWorks Animation film, Shrek the Musical is a hilarious and heartfelt fairy-tale adventure. With larger-than-life characters, irreverent humour, and show-stopping songs, this production turns the classic fairy-tale world upside down while celebrating friendship, acceptance, and the joy of being different. Everyone who auditions will be cast, making it a full-scale ensemble experience with opportunities for performers of all levels. Audition Date: Sunday 26 October 2025 Audition Time: Group 1: 2.00–3.30pm Group 2: 3.30–5.00pm Audition Location and Address: Thomas Dixon Centre, West End Audition Self-Tape Due (if applicable): 26 October 2025 Audition Requirements: Enrolment in the program is required before audition materials will be sent. Final role distribution at director’s discretion. All performers will be cast in the ensemble or featured roles. Video auditions accepted if unable to attend in person. Audition Registration: Via enrolment form at communicationinaction.net Performance Dates: Saturday 17 January 2026 Performance Location: Talbot Theatre, Thomas Dixon Centre, West End Rehearsal Dates: Monday 12 – Saturday 17 January 2026 (Holiday Workshop Week) Rehearsal Times: 9.00am – 3.00pm daily Performer Age: Open to students in Year 3 and up (school year in 2026 – current Year 2s may enrol). Creative Team: Director: Tim Hill Choreographer: Justin Anderson Vocal Coaching provided as part of workshop tuition. Production Website: communicationinaction.net Other Information: A preparatory Shrek Musical Theatre Masterclass is available prior to auditions for skill development. Dates: Sunday 12 & 19 October 2025 Time: 2.00–5.00pm Venue: Thomas Dixon Centre, West End Cost: $120 + GST (6 hrs tuition total) Limited places to ensure personalised attention. Available Roles/Character Breakdown: Shrek – The grumpy but lovable ogre with a big heart. Fiona – A princess with a secret, feisty and funny. Donkey – Shrek’s wisecracking, loyal companion. Lord Farquaad – The comically villainous ruler with a larger-than-life personality. Dragon – Fierce, sassy, and soulful. Pinocchio, Gingy, Three Little Pigs, Three Bears, Wicked Witch, Ugly Duckling, Fairy Tale Creatures – Ensemble of bold, comedic characters with strong singing and acting moments. Ensemble: Villagers, Guards, and Fairy-Tale ensemble roles with group singing/dancing.

Title: Bonnie & Clyde Presented By: Phoenix Ensemble Genre: Musical Synopsis: Set in Depression-era America, Bonnie & Clyde tells the electrifying story of Bonnie Parker and Clyde Barrow, small-town dreamers whose hunger for fame and escape from ordinary lives leads them down a path of love, crime, and infamy. Their daring heists, turbulent romance, and relentless pursuit of freedom make them both heroes and villains in the public eye. Featuring a thrilling score blending blues, gospel, and rockabilly, Bonnie & Clyde is a sexy, action-filled tale of two of history’s most notorious lovers, leading to their inevitable and tragic downfall. Audition Date: Group Dance & Vocal Workshop (all auditionees): Thursday 16 October 2025 — 6:30pm or 8:00pm (90 minutes) Individual Auditions (Principals + Preacher): Saturday 18 October 2025 — 9:00am–3:00pm Callbacks (by invitation): Tuesday 21 October 2025 — from 7:00pm Audition Location and Address: Phoenix Ensemble, Pavilion Theatre (“Tin Shed”), Beenleigh Showgrounds, James St, Beenleigh QLD Audition Requirements: All auditionees must attend a group dance & vocal session. You will learn a short routine and vocal harmony in groups. Wear movement clothes and closed shoes. If auditioning for Principals (Clyde, Bonnie, Buck, Blanche, Ted, Preacher): Prepare two contrasting songs (max 1 min each) in the style of the show. Bring a backing track on an AUX/Bluetooth device (speakers/adaptors provided). Prepare one of the provided monologues (Southern American accent). This does not need to be memorised. Ensemble auditionees need only attend the group workshop unless also auditioning for featured tracks. Southern American accents are required for all roles. Audition Registration: Book your slot via phoenixensemble.com.au/audition Audition Pack: Download here (PDF) Performance Dates: Friday 20 February – Saturday 7 March 2026 (3-week season) Performance Times: Fridays & Saturdays (evenings), Saturday matinees (no Sundays) Rehearsal Dates: Commence Sunday 9 November 2025. Rehearsal Times: Mondays & Wednesdays 7:00–10:00pm; Sundays 1:00–6:00pm. Holiday break: 22 Dec 2025 – 2 Jan 2026. Sitzprobe: Sunday 1 February 2026. Tech/Final rehearsals: From Monday 9 February 2026. Rehearsals and Performance Location: Phoenix Ensemble, Pavilion Theatre, Beenleigh Showgrounds Warnings: Contains intimacy, stylised violence, firearms, adult themes, and passionate physicality. An intimacy coordinator will be engaged to ensure safety. All cast must be 18+ by the first rehearsal, except for Young Clyde and Young Bonnie, who will be cast separately at a later date. Performer Age: 18+ (excluding youth roles). Creative Team: Director: Kym Brown Musical Director: Sally Faint Choreographer: Julianne Clinch Production Website: phoenixensemble.com.au/audition Other Information: Phoenix Ensemble is a community company; all roles are voluntary/unpaid. Cast must become financial members by the first rehearsal and hold (or obtain) a valid Blue Card. Available Roles / Character Breakdown: Clyde Barrow Male-presenting, stage age: 21 Vocal range: A2–C5 (high tenor belt). Reckless and magnetic; a small-town boy craving fame and notoriety. Charismatic, daring, impulsive, and utterly in love with Bonnie. Requires stamina, vocal power, and strong physical presence. Bonnie Parker Female-presenting, stage age: 20 Vocal range: G3–F5 (mezzo belt). A beautiful, ambitious waitress and poet, torn between love and fame. Headstrong, stubborn, and vulnerable. Chemistry with Clyde essential; must handle intimate and emotionally charged material. Marvin “Buck” Barrow Male-presenting, stage age: 25–35. Vocal range: B2–G4. Clyde’s loyal older brother, torn between his outlaw life and Blanche’s disapproval. Adventurous but conflicted. Needs strong acting depth to balance bravado with moral struggle. Blanche Barrow Female-presenting, stage age: 25–35. Vocal range: G3–Eb5. A devout and moralistic woman; deeply religious, righteous, and disapproving of her husband Buck’s choices. Provides comic relief and emotional grounding. Ted Hinton Male-presenting, stage age: 25–30. Vocal range: C3–A4. A kind police officer caught between his duty and his unrequited love for Bonnie. Honest, earnest, and gentle, but ultimately on the opposite side of Bonnie and Clyde’s world. Ensemble / Featured Roles — Each ensemble member covers featured tracks: Cumie Barrow: Clyde & Buck’s mother, pragmatic and weary. Female-presenting, 30–50. Emma Parker: Bonnie’s mother, supportive but fearful. Female-presenting, 25–40. Governor Miriam Ferguson: Strong and authoritative. Female-presenting, 35+. Sheriff Schmid: Relentless lawman pursuing Bonnie & Clyde. Male-presenting, 35+. Preacher: Gospel powerhouse; requires strong tenor (A2–C5). Male-presenting, 35+. Henry Barrow: Clyde & Buck’s father, weary and resigned. Male-presenting, 30+. Deputy Bud: Young, naive; Clyde’s first victim. Male-presenting, 20–40. Judge / Captain Hamer: Stern, commanding, final pursuer of the couple. Male-presenting, 40+. Ensemble also appears as townsfolk, church congregation, bank/store customers, police, and guards, often with solos or spoken lines. Young Clyde — Male-presenting, around 10. Treble/unbroken voice (B3–A5). Young Bonnie — Female-presenting, 10–15. Vocal range: C#4–C5. Contemporary tone required.

Title: Charlie & The Chocolate Factory Presented By: National Academy of Performing Arts (NAPA) Genre: Musical Theatre – Family Synopsis: Join NAPA’s Summer School for a spectacular production of Charlie & The Chocolate Factory. This vibrant adaptation brings to life Roald Dahl’s timeless classic, as Charlie Bucket and a cast of colourful characters journey into Willy Wonka’s magical chocolate factory. Packed with imagination, humour, and iconic characters, this production is a unique opportunity for both children and adults to shine on stage. Audition Date: Sunday, 7 December 2025 Audition Time: Lead Child Roles: 4:00pm – 6:00pm Adult Roles: 6:00pm – 8:30pm Audition Location and Address: NAPA Studios, 3 Stevenson Ct, Burleigh Heads QLD 4220 Audition Requirements: Child Leads: Must also be officially enrolled in the Summer School program to audition. Materials will be sent upon enrolment and submission of the audition form. Adult Roles: Prepare audition materials as outlined in the pack (sent after form submission). Headshot and CV required for both children and adult applicants. Audition Registration: Child Leads: Summer School Child Audition Form Adult Roles: Adult Audition Form Performance Dates: Thursday 22 January 2026 – 6:00pm Friday 23 January 2026 – 6:00pm Saturday 24 January 2026 – 6:00pm Sunday 25 January 2026 – 11:00am & 6:00pm Performance Location: NAPA Studios, Burleigh Heads QLD Rehearsal Dates: Lead Child Roles Additional Rehearsals: 10, 11, 13, 14, 15, 16 December 2025 and 13, 14, 15, 16 January 2026 Summer School Intensive: 17–22 January 2026, 10:00am–3:00pm daily. Performer Age: Summer School Ensemble: Ages 5–14 Adult Ensemble: Ages 15+ Child Leads: Ages 10+ Adult Leads: Ages 18+ Production Website: https://napa.com.au/auditions Available Roles/Character Breakdown: Child Leads (10–17 years): Charlie Bucket Augustus Gloop Mike Teavee Violet Beauregarde Veruca Salt Lead Dancer (ages 8–14) Adult Leads (18+): Willy Wonka Grandpa Joe Mrs Bucket Mrs Gloop Mrs Teavee Mr Salt Mr Beauregarde Grandma Josephine Grandma Georgina Grandpa George Ensemble: Featured Ensemble (ages 17+) General Ensemble (ages 15+)

Presented by Good Time Theatrics at PIP Theatre Written by Jonathan Larson Director & Producer – Kurtis Laing Musical Director – Nate Stevenson Original Choreography – Juliette Coleman Associate Choreographer – Hannah Crowther Band : Nate Stevenson (Keys), Joel Sanchez-Carn and Dylan Pinti (Guitar), Jess Hobbs (Bass), Rachael Jory and Marcelle Gunning (Drums) Lighting Designer – Yasmin Elahi | Sound Designer – Peter van Brucken | Set Design – Brigitte Bennet   Photography by Brittany Taylor Hetherington Tick, Tick… Boom!  hits differently when you’ve just turned thirty. Suddenly that ticking clock feels personal. It’s that restless mix of panic and passion that makes you want to either write a masterpiece or curl up and take a nap. At PIP Theatre, Good Time Theatrics transformed their in-the-round space into 1990s New York, where a stressed-out composer tries to juggle his career, his relationship, and the dread of getting older. Maybe it’s because I’ve just joined the thirty club myself (and director Kurtis Laing has too), but I felt every anxious, hopeful beat of that tug-of-war between ambition and self-doubt, and the relentless ticking reminding you that life doesn’t wait. Before the show even started, the room was alive. The cast mingled and joked with the audience while the band tuned behind them, and it instantly broke the fourth wall before a single note was played. It was the perfect entry into the world of Tick, Tick… Boom! : Jonathan Larson’s semi-autobiographical musical about a hopeful Broadway composer on the brink of turning thirty. He works at a diner by day and writes a futuristic rock musical by night, desperate for his big break while his best friend Michael trades acting for the corporate world and his girlfriend Susan dreams of a quieter life. It felt like we were sitting right inside Jonathan’s mind: part rehearsal room, part New York apartment, part ticking time bomb, with “ Boho Days” kicking off the show in a burst of audience participation. Designed by Brigitte Bennet , the stage floor looked like a giant sheet of music, the piano was plastered with scribbled notes, and posters of Stephen Sondheim hung proudly along the back wall as a nod to Larson’s mentor. A handful of chairs and costume pieces transformed into dozens of settings, while the band sat upstage, fully visible and very much part of the action. That open, garage-musical setup gave the production its authentic charm. It reminded us that Tick, Tick… Boom!  was written by someone who created art in the cracks between real life and bills and friendships and love. The trio of performers, William Kasper, Nykita O’Keefe, and Hamish Wells, were absolute powerhouses. Their chemistry was instant, their harmonies were tight, and their storytelling felt so genuine that at times it was like watching real friends navigate the highs and heartbreaks of creative life. William Kasper was brilliant as Jonathan Larson. He brought passion, anxiety, humour, and vulnerability all at once, with that chaotic creative energy that makes you root for him from the moment he steps onstage. His voice was rich and steady through an incredibly demanding score, launching straight into a strong “30/90.” You could tell he was giving everything to this role, because by the time he reached the emotionally gruelling monologue later, he was visibly spent and slightly hoarse. He broke hearts kneeling at the piano with trembling hands, a cracking voice, and real tears, baring his soul in “Why,” a performance so honest that the whole theatre was thoroughly moved. Nykita O’Keefe was stunning as Susan and Karessa. She moved so naturally between scenes of beaming joy or quiet heartbreak, never missing a beat vocally. Her “Come to Your Senses” was a goosebump moment, tender and intimate, performed directly to Jonathan as he sat in the front row in a chair labelled “Reserved for Stephen Sondheim.” It was a lovely, reverent moment for both of them. I’ve never heard Nykita falter in any performance, and she continued that streak here. Hamish Wells brought endless charm and comedic brilliance to Michael and his smaller cameo roles. His quick switches between characters were hilarious, from smooth corporate executive to chaotic cashier selling Twinkies. His duet with Will, “No More,” was one of the night’s biggest highlights. They bounced around the stage like kids playing pretend, and the stamina and breath control they kept through all that physical comedy was highly impressive! Together, the trio were unstoppable. Their group numbers were fantastic, especially “Johnny Can’t Decide,” “Green Green Dress,” “Sunday,” and the delightfully chaotic “Sugar,” which I hadn’t heard before and instantly loved. “Real Life” absolutely blew my mind and of course, “ Louder Than Words ” sent everyone home with shivers. Musical direction by Nate Stevenson held everything together with precision and passion. His five-piece band filled the space with the gritty energy Larson’s score demands. They nailed tricky numbers like the overlapping chaos of “ Therapy ,” where Will and Nykita argued like two stubborn kids having a meltdown, perfectly in rhythm. Lighting by Yasmin Elahi captured the show’s shifting moods with ease. Bright, vivid colours heightened the chaos while soft, melancholy tones settled over Jonathan’s moments of doubt. It all reflected his mental state without ever stealing focus. Sound design by Peter van Brucken was impressive too. Microphones were clear and the mix was well balanced, which is no easy task in an in-the-round venue. The market research scene was a standout with layered voices and effects that created that buzzing, hyperactive energy. Plus, the ticking motif woven throughout the show was the perfect touch, always there like the anxiety of time slipping away. Costumes were simple and exactly right: Jonathan’s rumpled flannel and jeans, Michael’s sharp business attire, and Susan’s elegant satin dress. Under Kurtis Laing’s direction, the show flowed with a lovely sense of rhythm. Scene transitions were smooth thanks to the narration, and the story never lost momentum. Everything felt comforting, intentional, and honest. Laing clearly understood both the humour and the ache of Larson’s writing; that push and pull between creative obsession and personal sacrifice. This production truly felt like Larson’s love letter to musical theatre, a reminder of why we create, why we dream, and why time never feels like enough. Everything aligned so beautifully: the performances, the direction, the music, the design. You could feel the audience riding every high and low with them.