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Title: Jagged Little Pill Presented By: NAPA Ensemble Genre: Contemporary Musical / Drama Synopsis: Inspired by Alanis Morissette’s seminal album, Jagged Little Pill  is an exhilarating musical exploring raw emotion and contemporary social issues. The Healy family appear to be a picture-perfect suburban household, but beneath the surface they are struggling with trauma, identity, and connection. As their lives begin to unravel, they must confront difficult truths about themselves, their relationships, and the world around them. The show explores themes of addiction, mental health, sexual assault, race, and healing. Audition Date: Saturday April 18th, 2026 (Dance Call & Video Due) Saturday April 25th, 2026 (Callbacks) Audition Time: April 18th from 4PM (Dance Call) April 25th from 6PM (Callbacks) Audition Location and Address: West End Studio, 3 Stevenson Ct, Burleigh Heads QLD Audition Self-Tape Due: Saturday April 18th, 2026 at 11:59 PM Audition Requirements: Video audition - Two contrasting contemporary songs (90 seconds each) in the style of the show Dance call required (except for Mary Jane and Steve) Callbacks as required Audition Registration: Complete the Audition Form to register Audition Pack: Jagged Little Pill Audition Pack Performance Dates: July 9 - 19th, 2026 Performance Times: Thursdays to Saturdays - 7PM Sundays - 2PM & 7PM Rehearsal Dates: Mondays, Wednesdays & Saturdays commencing Saturday May 2nd, 2026 Rehearsal Times: Mondays & Wednesdays 6:30PM - 10PM Saturdays 2PM - 6PM View full rehearsal schedule HERE Rehearsal Location: NAPA Studios Warnings: Contains mature themes including sexual assault, trauma, addiction, substance abuse, mental health, racism, homophobia, and strong language Performer Age: 18+ (must be 18 by start of rehearsals) Creative Team: Director - Hunter Wall Choreographer - Kim Reynolds Vocal Director - Jonathan Whitlow Musical Director - Laila Chequer de Souza Production Website: NAPA Ensemble - Jagged Little Pill Other Information: Attendance at rehearsals is mandatory unless prior conflicts are submitted An intimacy coordinator will be engaged for the production All unavailabilities must be declared at registration Available Roles / Character Breakdown: Mary Jane Healy – Female-presenting, 40–50, Mezzo-Soprano (F3–F5) Frankie Healy – Female-presenting POC, 16, Mezzo-Soprano (F#3–F#5) Nick Healy – Male-presenting, 18, Tenor (Eb3–Bb5) Steve Healy – Male-presenting, 40–50, Baritone (A3–A5) Jo – AFAB gender non-conforming, 16, Alto (E3–G5) Phoenix – Male-presenting, 16, Tenor (E3–Bb5) Bella – Female-presenting, 18, Mezzo-Soprano (F#3–A5) Andrew – Male-presenting, 18, Tenor (F#3–A4) Ensemble – Any gender, multiple featured roles including doctors, parents, students, and community members Casting Requirements: Frankie must be played by a female-presenting person of colour Jo is open to AFAB gender non-conforming performers

Home in the Sun – Backdock Arts Writers:  Aimee Tacon, Joe Lord, Ethan Irvine Composers:  Bridie Middleton, Veronica Netya Dramaturg:  Harrison Port Cast & Musicians: Ethan Irvine – The Gardener Aimee Tacon – The Agent Harrison Port – Edmund / The Son (piano) Veronica Netya – Maggie / The Writer (guitar) Alisha Milne – The Bug Collector / Edith (thumb piano + more) Ellie Johnson – Alice / Rose (ukulele + more)   “May our roots support and sustain us, and may we see new light with each passing day.”   Home in the Sun  is a lovingly crafted, collaborative project by writers Aimee Tacon, Joe Lord, and Ethan Irvine. First developed for the QUT Potentia Festival, this piece blends live music with group storytelling to create something truly special. In the yard of an old Queenslander, a gentle gardener is tending to his bulbs, deeply attuned to the sounds of the land he cherishes. But when a real estate agent shows up to assess the property's value, that harmony is disrupted. As the two gradually warm up to each other, the house begins to reveal its past. Home in the Sun welcomes everyone past the front gate, where history comes alive, and the love for people, places, and memories bloom. As soon as I walked into the space at Backdock Arts, I noticed how thoughtfully everything was put together. The whole space had this inviting warmth as you walked through the set and past the picket fence to reach your seat. The warm lamps cast a cozy glow on the rusted tin walls, a wheelbarrow filled with soil and plants sat waiting. It perfectly set the mood for a show that encourages you to slow down and really soak it all in. It felt less like entering a theatre and more like stepping into someone else’s memory.   We meet the gardener (Ethan Irvine), a gentle figure who is always humming softly. Then the agent (Aimee Tacon) arrives with her brisk, transactional demeanor cutting straight through that tranquility. And their debate on the 'value' of the place begins.   The house starts telling its story through a series of beautifully woven vignettes. We are transported through time, spanning from the 1840s to now, meeting the inhabitants who once filled its walls with life: a passionate girl guide, a young couple finding their rhythm in marriage and poverty, a theatrical outsider observing the world from the street, a writer searching for a purpose, and a group of laundry girls finding connection in routine. Each story feels like a memory that's been unearthed and tenderly placed in our hands.   What really elevates this piece is how integrated the music and sound are within the storytelling, Composed by Bridie Middleton and Veronica Netya. Veronica's guitar is impossibly soothing, and Harrison Port’s piano threads emotion through every scene, particularly in the delicate arpeggios that carry us between moments. The live foley creates an ASMR-like, transportive soundscape: A phone ring, a small rain stick, the layering of thumb piano, ukulele, and subtle percussion all combine to create something handcrafted and intimate.   Visually, the world is just as evocative in sensory richness. The ensemble moves through time with subtle costume additions over their white base, while the set remains constant, like a steady witness to decades of life. Twinkle lights glow softly overhead, a picket fence frames the space, and every prop appears aged and well-used.   Performance-wise, the cast works with beautiful cohesion, constantly observing and reacting from their upstage positions, never dropping their connection to the story. Ethan's gardener is sincere, anchoring the piece with a grounded, patient presence. Aimee's agent is a standout, beginning brisk, disconnected, and bound by time. Their scenes carry some of the work’s strongest ideas, particularly around the “luxury of time.” When she admits, “my day doesn’t belong to me,” it lands with a quiet weight. Watching him guide her, not just through the garden but towards stillness, becomes one of the most satisfying threads of the piece.   The bug collector (Alisha Milne) brings a burst of energy and childlike curiosity, drawing clever parallels between family structures and ant colonies with vivid enthusiasm. Harrison shifts convincingly between two very different character portrayals, while also anchoring the musical landscape at the piano. Veronica easily juggles being a musician and performer, her presence steady and calming within the world. Ellie Johnson is particularly sweet as the young wife, capturing the quiet care and tenderness of those domestic moments with simplicity.   There is something in this piece that reaches beyond the space it’s currently in. The sensory detail is already strong, but I would be very curious to see this work in a more open, natural environment, perhaps an outdoor setting with the audience seated on picnic blankets to lean further into the connection with land, smell, and atmosphere. The cast are well suited to this material, and the piece sits comfortably in its one-act length, allowing each scene the space it needs without dragging on. It is a thoughtful, cohesive work with a clear sense of care behind it, making it a lovely fit for a festival setting like Anywhere Festival.   Home in the Sun  is about the value we place on spaces and the lives lived within them. It suggests that true worth isn’t found in market price, but the memories, the time spent, and the experiences we gather there. As someone constantly rushing between shows, rehearsals, and work, this was a nice reminder to slow down, to listen, and actually enjoy the spaces that matter most. For me, it lands as a peaceful exhale. Thank you to the team for allowing me to attend your final performance.

Written by Matthew Ryan Presented by Ad Astra Director | Fiona Kennedy Assistant Director, Set Design, Projections, Wigs | Stacie Hobbs Stage Manager | Chloe Rose Costume Design | Georgina Purdie Lighting Design | Geoff Squires Sound Design | Tommi Civili Choreography | Nicholas Coubrough I always find it hits differently when a story is set somewhere you know well. Brisbane isn’t just a backdrop here, it’s the TITLE and the heartbeat of the story. We don’t often think of Brisbane as a “war story” setting, but it turns out, history was unfolding right here in our own backyard. The play is set in 1942 and is told by 14-year-old Danny, who has a head full of stories and a romanticised view of war. He idolises his older brother Frank, until reality crashes in with devastating force. When American troops arrive in Brisbane, Danny’s world begins to shift in ways he could never have imagined. This coming-of-age tale is shaped by war, loss, and a reality Danny is unprepared for. The writing blends wartime realities with a distinctly Aussie perspective, where humour, resilience, and a touch of cheekiness coexist with heartbreak. The impact of combat loss hits sooner than I expected, shattering the family's illusion that Frank was somehow invincible. Under Fiona Kennedy’s direction, and Bailey Sprecak’s lively narration, the piece sustains a strong sense of momentum and brings a contemporary theatrical rhythm to the historical setting. The Galaxy stage at Ad Astra Theatre is used in full, with a multi-level wooden set that captures both the intimacy of a family home and the expansiveness of memory. A simple armchair, lamp and radio ground us in the 40s era, while a bare tree silhouette, enhanced by projections, shifts us through different seasons and times of day. This is definitely a performance-focused piece, and Bailey Sprecak gives Danny an endearing awkwardness. Portraying a slightly dweeby, imaginative 14-year-old who idolises his older brother, he brings a warmth and innocence to the role at first. But when Danny is confronted with the reality of death for the first time, there is a noticeable and unsettling character shift. His innocence fractures, leading to a gradual spiral into confusion, anger, and a desperate attempt to make sense of loss. The relationship between Danny and Frank, played by Liam McMahon , is beautifully realised. Their dynamic is playful and supportive, with a natural sense of brotherly connection that makes Frank’s absence loom large over everything that follows. McMahon reappears as Andy, an American pilot who takes on the role of a surrogate brother figure. The parents provide a realistic emotional anchor. Brent Dunner plays the quintessential gruff Aussie dad. Shaped by his own experiences and injuries from WWI, he quietly carries trauma while trying to keep busy with constant renovations on the Queenslander family home. Lisa Hickey delivers some of the most heartbreaking moments of the piece. Her motherly grief manifests in denial and dissociation, clinging to the idea that her son is still alive. It’s uncomfortable, raw, and deeply affecting to watch. Hannah Sisson brings a gentle warmth to Rose, offering moments of calm amidst the chaos unfolding around the family. Her relationship with Danny carries an added complexity, as his closeness to her becomes entangled with his longing to take his brother’s place. Aimee Duroux as Patty is the standout performer for me. She adds a completely different energy as Danny’s ever-present and exasperating friend. Wearing a leg brace and constantly on the receiving end of cruel labels, Patty has built a tough exterior, armed with biting humour and brash language as a defence mechanism. Her sharp tongue and fiery presence bring both levity and edge, particularly in the way she pushes back against how she’s perceived by others, while still revealing glimpses of vulnerability beneath. The remaining actors shift between roles such as brash American soldiers, wary locals, schoolyard bullies, and historical figures, showing strong versatility across the ensemble. Jay Koloi’s voice work in the newsreel montage is a standout moment, with impressive vocal control and characterisation. Jack Winrow’s dry humour is particularly notable as he takes on multiple roles including Winston Churchill and General Monash. He and Mike Escober both stand out for their ease on stage, bringing a natural, assure quality to each moment. Natasha McDonald is particularly notable as the leader of the cricket boy bullies. One of the more interesting threads throughout the show is the tension between Australians and the arriving American troops. The contrast is often played for laughs, especially in the exaggerated reactions of Brisbane women swooning over the “Yankies”, while local men bristle with resentment. Beneath that humour, however, is a genuine exploration of cultural friction and shifting social dynamics. As Danny’s journey continues, the story takes a darker turn. His attempts to step into his brother’s place, to support his mother’s delusions, and to connect with an American soldier who physically resembles Frank all build toward an identity crisis. The escalation into impulsive anger and violence is intentionally jarring. The production also leans into its setting in subtle yet effective ways. There are nods to Brisbane’s history and locations, including its reputation for danger in certain areas. Even the pre-show atmosphere contributes, with swing dancers performing in the courtyard in period costume before reappearing during the Cloudland scene (not the club in the Valley). The lighting design is also very effective, using colour and spotlights to clearly define and split scenes, while the sound design is abrupt in a way that deliberately jars the audience. Costumes and wigs feel authentically of the era, like they could have been pulled straight from 1942… aside from that questionable moustache (sorry Jack). At its core, this is a story about the ripple effects of war. Not just on the battlefield, but within families, communities, and young people forced to grow up too quickly. It explores masculinity across cultures, women’s roles during wartime, the tension between civilians and soldiers, and the emotional toll of sudden loss, both literal and psychological, and how that trauma manifests over time. While the performances are consistently strong, the script didn’t fully resonate with me on a personal level. At times, the narration and sound design become quite loud and frantic, making some lines difficult to catch, particularly in group sequences. It’s a small but noticeable barrier in an otherwise engaging production. That said, the cast’s commitment is undeniable, and there is plenty to appreciate here, particularly for audiences interested in Brisbane’s history and wartime storytelling. This is a thoughtful, locally grounded piece that blends humour and heartbreak, offering a perspective on WWII that is extremely close to home.

Kinky Boots - Swich Up Productions  (no, it’s not misspelt – it’s short for Ip swich !) Ipswich Civic Centre Book by  Harvey Fierstein Music & Lyrics by  Cyndi Lauper Director : Adrian Carr Musical Director:  Julie Whiting Choreographer : Holly Leeson Photography: Kris Anderson "Be yourself; everyone else is already taken." For this production of Kinky Boots, Ipswich did not come to play! The Civic Centre foyer was full of boots, glitter, and people who clearly understood the assignment. Maybe it was the pre-show runway, or maybe it was the reputation of Swich Up Productions, now firmly cemented as an award-winning company. Either way, for a one-weekend-only season, this was a must-be-there event. And what an event it was. The story follows Charlie, who inherits his family’s struggling shoe factory and, through an unexpected partnership with drag performer Lola, sets out to save it in a most unconventional way. Kinky Boots  explores growth, shifting perspectives, leading with kindness, and looking beyond the surface. At the centre of it all was Carl de Villa as Lola, stepping into the role just three weeks before opening. If you didn’t know, you’d never guess! Carl was completely at home, bringing a cheeky confidence and effortless charisma that never wavered. Vocally, they soared, with Hold Me in Your Heart  landing as a true highlight — soulful, glamorous, and emotionally grounded (in a white gown that absolutely delivered). There was a playful ease to the performance that made Lola instantly loveable and undeniably magnetic. And not to be weird, but their legs deserved their own applause. Conor Ensor as Charlie anchored the show with emotional weight. Vocally, he was rock solid. Those belts are no joke! But it was his acting that cut through. Charlie’s downward spiral was uncomfortable in the way it needed to be: harsh, messy, and recognisably human. Audience members audibly reacted to his unwarranted cruelty, a testament to how effectively the performance landed. Soul of a Man  became an intense emotional release, charged with power and control by Conor. You found yourself rooting for him, while also begging him to make better choices. Jaime O’Donoghue as Lauren was a scene-stealer. She leaned fully into Lauren’s awkward chaos with impeccable comedic timing and a beautifully easy vocal in her solo The History of Wrong Guys . I love that the show tries so hard to convince us she is not a catch with the sweater, the pigtails, the brash accent… and respectfully, I did not believe it for one second. Jaime completely overruled that narrative with her sheer star quality. Dominic Bradley as Don was thoughtfully handled, evolving beyond a close-minded bully into something far more accepting. There was a subtle shift across his performance that allowed the audience to soften towards him without ever fully letting him off the hook. It made his arc land with more weight than I expected it would. Abby Page’s Nicola was perfectly insufferable (compliment!) Sharp, polished, and just the right amount of cutting, she leaned into the role with confidence, making every appearance deliciously frustrating in the way only a well-played antagonist can be. Fiona Buchanan and Simone Behrendorff grounded the factory world with personality and humour. Their presence added a sense of history and community warmth to the space, making the stakes of the factory’s future feel more tangible and personal. The Angels brought unstoppable energy every time they hit the stage. Slick, cohesive, and clearly having a fabulous time, they lifted the pace of every number they were in. A special mention to Isaac Brown, whose punchy rock-pop vocals in In This Corner  cut through with soaring clarity and fierce attitude. Visually, there was plenty to take in. The set didn’t just sit at the back of the stage, it surrounded the performers from all sides, creating a fully realised world that transported us straight into a British factory. Detailed brickwork, an upper-level office, moving staircases, and conveyor belts — yes, fully functioning conveyor belts — were not just impressive but cleverly embedded into the choreography by Holly Leeson. Lighting and projections were outstanding, particularly in split scenes, and the handcrafted props added lovely authenticity. There was a clear sense of care in every visual choice. And then there were the costumes. The Angels? Iconic. Wigs, makeup, costumes, and boots were exactly the right amount of flamboyance that you want from Kinky Boots . Every time the Angels hit the stage, the energy jumped several levels… as it should. Lola’s wardrobe and wigs became an event in itself too. Musically, the production packed a punch. Under Julie Whiting’s direction, the blend of live band and EDM elements gave the score a driving, high-energy edge, with numbers like Sex Is in the Heel  hitting with a club-like dazzle. The ensemble harmonies were clear and bright, featured actors shone with ease, and there was a shared momentum that carried right through the show. The Most Beautiful Thing in the World  stood out with its full-bodied, resonant vocals, while What a Woman Wants  took the crown for me. Of course, there were a couple of small hiccups. At times, muffled dialogue was hard to catch over the underscoring. A persistently ringing phone during Not My Father’s Son  also pulled focus from what should have been one of the show’s most tender moments — and you could feel the audience collectively losing their patience each time it rang again. Apologies to the cast. Theatre etiquette is such a peeve of mine. Revisiting this show again after almost a decade since it came to QPAC, what stayed with me most was the heart of the piece. This is a production that celebrates individuality without apology. It champions openness, kindness, and the courage to be unapologetically yourself. It does not tiptoe around its message either: drag is not niche… "drag is mainstream", it is powerful, and it belongs. And when it’s all wrapped up in big voices, bold visuals, and a cast clearly having the time of their lives… how could you not say yeah? Be yourself. Be loud. Wear the boots!

Messa Da Requiem – Queensland Ballet Glasshouse Theatre, QPAC With Queensland Symphony Orchestra, Canticum Chamber Choir, Brisbane Chorale, and Opera Queensland Choreographer:  Christian Spuck Music:  Giuseppe Verdi Conductor:  Simon Hewett Set Designer:  Christian Schmidt Costume Designers:  Emma Ryott, Christopher Parker Lighting Designers:  Martin Gebhardt, Elfried Roller Chorus Director:  Emily Cox Dramaturg:  Claus Spahn Featured Singers:  Naomi Johns (Soprano), Cassandra Seidemann (Mezzo-Soprano), Kyle Stegall (Tenor), Jeremy Kleeman (Bass-Baritone)   Watch out, Timothée Chalamet, because we’ve got both ballet and  opera going on at QPAC. With more than 140 performers packed onto the stage and an orchestra ready to shake the walls, Messa Da Requiem  wastes no time reminding you just how powerful live performance can be.   Written back in 1874, Verdi’s Requiem  transforms this traditional Catholic funeral mass into something far more theatrical . This is not your traditional narrative ballet. There’s no neat storyline to follow or main character to latch onto. Instead, choreographer Christian Spuck tackles big, overwhelming, sometimes uncomfortable truths. And he does it by letting the music lead, trusting Verdi’s monumental score to carry us through the experience.   One of the coolest elements of this production is how blurred the lines are between different art disciplines. The choir doesn't just stand there like musical statues; they move, shape the space, and become part of the choreography. The 110 choristers move in waves, ripple through canon patterns, and shift across levels to constantly reshape the enclosed stage. Without any theatre wings, performers appear and disappear through the back corners, adding a sense of mystery, like figures emerging from memory and slipping away again. Trumpeters play from above, surrounding the audience. There’s no clear separation between pit and stage, singer and dancer, sound and movement. Everything feeds into everything else. Right from the start of Requiem et Kyrie , you’re hit with slow, intentional movements and striking stage visuals. Then, BOOM… Dies Irae (Day of Wrath) hits. If you haven’t heard this piece, you’ve got to give it a listen. Preferably loudly. It’s the most recognisable section of the work and easily the most relentless. It absolutely erupts in the new Glasshouse Theatre. The crashing drums and blazing brass bring out the terror of Judgement Day, with a nonstop urgency. The Queensland Symphony Orchestra delivers it with such force it almost feels seismic. The choir’s voices are unified and urgent, while dancers covered in ash contort and pulse through the chaos like an bug being tortured under a magnifying glass. There's a moment where the whole group surges across the stage in a frenzy like ants, and it's somehow both completely wild but incredibly precise.   The visuals kept surprising me too. The stage is surrounded by these towering grey walls that turn out to be blackboards, and later get covered in chalk scribbles that looked like signatures from where I was sitting. Some tables and chairs are constantly shifted and reworked to create new levels and areas. A movable light box creates stunning silhouette shadows of the dancers, especially in a pas de deux where lift after lift sends clouds of ash drifting into the air. There’s even a moment where dancers scale the wall like they’ve suddenly become gravity-defying creatures (very Spider-Man).   The choreography itself is a rich blend of classical ballet and contemporary movement. There are some delicate and lyrical pointe work, contrasted with almost primal floor work. The dancers crawl, roll, and ripple through the space like a swarm of insects. Then, just as quickly, everything goes still. There are also some truly beautiful smaller moments woven throughout. The pas de trois is fluid and sculptural, while a later pas de deux paired with the Agnus Dei  features soft, interconnected movement and genuine tenderness. A section featuring a dozen partnered couples moving in sync was particularly striking. During the tenor solo, stillness is used to great effect, with dancers (including the men) appearing in tulle gowns, bare backs turned away from us, moving in hypnotic unison.   Vocally, the work is just as impressive. Cassandra Seidemann’s mezzo is rich and velvety, with a grounded warmth that carries beautifully, while Kyle Stegall’s tenor rings out with clarity and precision, slicing cleanly through the texture. Jeremy Kleeman’s bass-baritone provides a deep, resonant foundation that anchors the sound. And then there’s Naomi Johns, whose soprano soars effortlessly above the 110 voices of the choir and cuts through the orchestral swell… honestly unfair how easy she makes it sound.   The Sanctus  gives the choirs a chance to really shine, and it’s thrilling to hear that many voices working together with such clarity and power. The a-cappella quartet section is another standout for its restraint… although, unfortunately, it was interrupted by an audience phone ringing not once, not twice, but four times! A gentle reminder that live theatre etiquette is still very much a thing (we beg of you).   What I appreciated most about this production is how immersive it feels. Not in a gimmicky, interactive way, but in the sense that you’re completely surrounded by it. The sound, the movement, the sheer scale of bodies on stage, it all pulls you in. There are moments of beauty, moments of intensity, and moments that are deliberately unresolved. This isn’t a light, easy watch. It gets slow in places, highly introspective, and is unapologetically dramatic. But if you enjoy opera, choral and classical music, ballet, contemporary dance, or simply witnessing what a huge group of artists can create together, there is so much to admire here.   It’s one of those experiences I'm very glad I didn’t miss, even if I wouldn't hurry back right away. Still, I'm pumped to see what Queensland Ballet and Opera Queensland have in store this season, and I might even check out a performance by the Queensland Symphony Orchestra, Brisbane Chorale, or Canticum Chamber Choir while I'm at it.

Title: Singin’ in the Rain - Senior Presented By: Brisbane Arts Theatre Genre: Musical Theatre Synopsis: Set in 1920s Hollywood, Singin’ in the Rain  follows silent film star Don Lockwood as the industry transitions to “talkies.” When his leading lady Lina’s voice threatens their success, aspiring actress Kathy Selden steps in—sparking romance and chaos. Audition Date: April 18th, 2026 Audition Time: 1PM - 4PM Audition Location and Address: Brisbane Arts Theatre, Suite 3a/70 Prospect Terrace, Kelvin Grove QLD 4059 Audition Requirements: All applicants must be 55+ Please provide a headshot on the day Prepare a 'read' for the character you are interested in (Audition Reads found HERE ) Please prepare an excerpt of a theatrical/ Broadway upbeat song of no more than 2 minutes. You must bring a recorded backing track that can be connected to a Bluetooth speaker. You may be asked to sing some simple vocal exercises to determine vocal range. Prior to the audition, please learn the choreography snippet in the video HERE . Ensure you wear comfortable clothes and shoes you can easily move in and bring your water bottle. You will be learning additional choreography on the day. Tap shoes are not required, but please bring them along if you own a pair. Audition Registration: Complete the online registration HERE Audition Pack: Singin' in the Rain Senior Audition Pack Performance Dates: July 2nd - 11th, 2026 Performance Times: 5PM Sunday evening 7PM all other evenings Performance Location: Southbank Tafe, 66 Ernest St, South Bank Rehearsal Dates: April 23rd - July 1st, 1016 Rehearsal Times: Tuesdays & Thursdays - 6PM - 9:30PM Sundays - 12PM - 7PM Rehearsal Location: Lavalla Centre, 58 Fernberg Road, Paddington Warnings: Requires singing, dancing (including tap), and physical movement. Time commitment required for rehearsals. Performer Age: 55+ (Senior version) Creative Team: Directors - Adelle O’Connell & Kath Kunde Musical Director - Laraine Griffiths Choreographer - Marisa Bucolo Production Website: Brisbane Arts Theatre - Singin' in the Rain Senior Other information: Audition form will request personal details, vocal range, and conflicts Cast members are expected to commit to rehearsals and attendance requirements. Available Roles/Character Breakdown: Don Lockwood (M) Cosmo Brown (M) Kathy Selden (F) Lina Lamont (F) Dora Bailey (F) Roz (F) R.F. Simpson (M) Roscoe Dexter (M) Young Lady (F) Miss Dinsmore (F) Zelda Zanders (F) Teacher (M/F) Other Ensemble (M/F) Kathy’s Girls / Chorus Girls (F) – for those with strong dance abilities Singers – for those with mobility considerations

Title:  Big Fish Presented By:  Spotlight Theatrical Company Genre:  Musical Theatre Synopsis: Big Fish follows Edward Bloom, a travelling salesman known for his larger-than-life stories. As his life nears its end, his son Will seeks to uncover the truth behind these incredible tales and understand the man his father really is. The musical blends fantasy and reality in a heartfelt story about family, love, and storytelling. Audition Date:  Sunday April 12th, 2026 Audition Time:  From 10AM Audition Location and Address:  Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Audition Requirements: Dance Call - Auditionees do not need to prepare anything in advance. Please wear clothing suitable for movement and appropriate footwear. Bring a water bottle and arrive stretched and warmed up. Vocal Auditions - Prepare two contrasting songs (approximately 90 seconds each) that best showcase vocal, acting, and character ability. The panel may not hear both pieces. Please bring backing tracks on a device that can connect via Bluetooth speaker. Callbacks - Callbacks will be held on Monday 13 April 2026. Selected auditionees will be provided with material from the show to prepare. Successful performers will be contacted within a few days following callbacks. Audition Registration: Complete the Audition Form HERE. Audition Pack: Big Fish Audition Pack Performance Dates:  July 30th - August 15th, 2026 Performance Location:  Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Rehearsal Dates:  Starting Sunday April 19th Rehearsal Times:   Mondays & Thursdays - 7 - 10PM Sundays - 10AM - 6PM Rehearsal Location:  Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Warnings: Themes surrounding illness, death, and complex family relationships Performer Age: Typically 16+ (varies by role) Production Website:   Spotlight Theatrical Company - Big Fish Other information: Spotlight is a community theatre company producing large-scale musical productions with opportunities for performers, creatives, and volunteers. Available Roles/Character Breakdown: Edward Bloom (Male, 25–55): A charming, charismatic storyteller nearing the end of his life and seeking to reconnect with his son. Loving husband and father with a passion for storytelling. Young Edward is optimistic, energetic, and romantic; must captivate the audience and sell his larger-than-life tales. Strong actor with a big voice and movement ability; capable of leading musical numbers. Role spans ages 18–60 and may be split between two actors.Vocal Range: Bari-Tenor (G2–G4)Songs: Be the Hero, Fight the Dragons, Showdown, Start Over, How It Ends, Out There on the Road, Time Stops, Closer to Her, Daffodils, Red White and True Sandra (Female, 25–55): Patient, calm, and the grounding force to Edward’s enthusiasm. Deeply devoted to both her husband and son, she strives to bring them together. Young Sandra is sweet, hopeful, and romantic. Requires strong vocals, expressive acting, and solid dance ability. Role spans ages 18–60 and may be split between two actors.Vocal Range: Soprano (G3–E5, mix/belt)Songs: Alabama Lambs, Time Stops, Daffodils, Red White and True, Two Men in My Life, I Don’t Need a Roof Will Bloom (Male, 20–30): Earnest, serious, and thoughtful. Struggles to reconcile his father’s fantastical stories with reality. A successful professional and new husband, he must guide the emotional journey toward understanding and acceptance. Strong tenor voice required; no dance; strong acting focus.Vocal Range: Tenor (C#3–G4)Songs: Strangers, Strangers Reprise, Showdown, What’s Next, Be the Hero (Reprise) Young Will (Male, 10–12): Curious and increasingly skeptical of his father’s stories. Participates in storytelling scenes. Primarily an acting role with a small singing moment in Fight the Dragons . Josephine (Female, 20–30): Will’s wife. Intelligent, grounded, and compassionate. Acts as a bridge between Will and Edward, helping interpret the meaning behind the stories. Non-singing, non-dancing role requiring strong acting. Karl the Giant (Male, any age): Edward’s gentle, intelligent best friend. Shy with a quiet charisma but a commanding presence. Requires a strong bass voice and physical presence; must be comfortable performing on stilts.Vocal Range: Bass (A2–D4)Songs: On the Road, Start Over Amos Calloway (Male, 30–50): Eccentric and flamboyant circus owner (and werewolf in Edward’s tales). Requires strong character acting and comedic ability. Singing role with emphasis on personality over vocal power.Vocal Range: Baritone (C3–F5, touches G5)Songs: Closer to Her, Start Over The Witch (Female, any age): Commanding, confident storyteller who inspires Edward to live boldly. Strong belt required with some movement ability.Vocal Range: Mezzo (F3–F5)Songs: I Know What You Want Ensemble / Featured Ensemble (12 performers): All ensemble members sing and move; some will have more advanced dance requirements. Featured ensemble roles are drawn from this group. Jenny Hill (Female, 25–55): Edward’s first love; a dreamer in youth, later disillusioned but dignified. Plays a key role in helping Will understand Edward. Strong belt preferred with some movement. May be split between two actors.Vocal Range: Mix/Belt to E5Songs: Ashton’s Favorite Son, Out There on the Road Don Price (Male, 20–45): Snarky bully and Sandra’s former fiancé; later becomes mayor. Larger-than-life character with strong acting presence.Vocal Range: Baritone (C3–F#4)Songs: Out There on the Road, Start Over Zacky Price (Male, 20–45): Don’s awkward, nerdy brother. Character role requiring strong acting. Doctor Bennett (Male, 30+): Kind, warm, and honest physician. Straight acting role; no singing or dancing required. Red Fang (Male, 18–28): War villain. Requires physicality for fight scenes and movement. Ashton Mayor (Male, 30+): Classic small-town mayor; friendly and approachable character. Alabama Lambs (Female, 18+): Two performers who act as Sandra’s friends at the circus. Strong singing and dance ability required. Fisherman (Any, 18+): Comedic hometown character. Strong singing and movement skills preferred.

Title:  The Wizard of Oz Presented By:  Villanova Players Genre:  Musical Theatre Synopsis: The timeless tale in which young Dorothy Gale travels from Kansas, over the rainbow, to the magical Land of Oz. This production uses the RSC version, which stays faithful to the classic film while being adapted for the stage. Characters such as Glinda, Scarecrow, Tinman, Lion, Wizard, and the Emerald City Guard also have Kansas counterparts, and the show features expanded chorus roles with singing and speaking parts. Audition Date:  April 9th - 10th, 2026 Audition Time:  11AM - 10PM Audition Location and Address:  Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, QLD Audition Self-Tape Due (if applicable):  April 10th, 2026 Audition Requirements: Please prepare 2 contrasting songs of about 30 seconds each. At the audition, you will be asked to do a cold read and will be taught choreography that you will have to present during the session. Please bring chorus/dance shoes if you have them. Audition Registration: Complete Expression of Interest form and Book an Audition Time. Video auditions can be submitted to jacquelinekerr28@gmail.com . Audition Pack: The Wizard of Oz Audition Pack Performance Dates:  November 20th - 22nd, 2026 (Possible performances November 25th & 26th). Performance Times:   Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 2PM Performance Location:  Ron Hurley Theatre, Seven Hills, QLD Rehearsal Dates:  September 2nd - November 19th, 2026 Rehearsal Times: Monday & Wednesday, 7PM - 9:30PM Saturday September 5th, 1PM - 5PM Saturday September 12th, 1PM - 5PM Sundays (from September 20th), 10AM - 4PM Rehearsal Location:  Ron Hurley Theatre, Seven Hills, QLD Performer Age:  Adults and children (children will be double cast) Creative Team: Director - Jacqueline Kerr Production Website:   Villanova Players - The Wizard of Oz Other information: Dorothy Gale has already been cast. Contact Jacqueline Kerr via email for further information. Available Roles/Character Breakdown: Glinda / Aunty Em (Female, 40–50s): Must sustain high soprano Scarecrow / Hunk (Male, 20–40s): Tenor Tinman / Hickory (Male, 20–40s): Tenor Lion / Zeke (Male, 20–40s): Tenor Wizard / Travelling Salesman (Male, 20–40s): Non-singing role Emerald City Guard / Uncle Henry (Male, 40–50s): Tenor Wicked Witch / Miss Gulch (Female, any age): Non-singing role Chorus: Adults (14 total): Dancers with skills in ballet, soft shoe, tap, or jazz. Singing and acting ability advantageous. Children (20 total, 10 per show – double cast): Roles include Munchkins, poppies, and monkeys. Must be able to sing and perform basic movement.

Title: Spotlight Night: Role Reversal Presented By: Ipswich Musical Theatre Company Genre: Musical Theatre / Showcase / Open Mic Synopsis: Formerly known as Open Mic, IMTC Spotlight Night is a curated evening of musical theatre performances showcasing talented local artists in a supportive and high-quality environment. The event features a selection of performers presenting songs based on a central theme, while also raising funds to support the company and future events. Audition Self-Tape Due: April 12th, 2026 Audition Requirements: Prepare up to 2 Broadway musical theatre songs (maximum 5 minutes each) Songs must align with the event theme Solos, duets, and trios are welcome Videos must be single, unedited takes recorded within the last 6 months Piano or backing track permitted Audition Registration: Apply via online form HERE Performance Dates: Friday April 24th, 2026 Performance Times: 7PM Production Website: Ipswich Musical Theatre Company - Spotlight Night: Role Reversal Other information: A limited number of performance slots are available All successful performers (18+) will be required to pay a small performer fee Designed as a supportive opportunity for performers to stay performance-ready and engage with the musical theatre community Theme: Role Reversal – musical theatre songs reimagined beyond their traditional roles or ages, encouraging fresh perspectives and bold creative choices

Title: Hot Tub Presented By: Ad Astra Theatre Company Genre: Dark Comedy / Satire / Contemporary Theatre Synopsis: Winner of the Patrick White Playwrights Award, Hot Tub  is a tragicomic fever dream set on the Gold Coast during Schoolies Week. Dido, a teenager from North Queensland, arrives at her estranged family’s crumbling beachside tower seeking money for weight-loss surgery. When refused, she teams up with her scheming stepbrother to raise funds online. Meanwhile, the family matriarch faces a criminal investigation but refuses to sell the building. The play is a satirical takedown of Australia’s upper crust, packed with absurdity, secrets, and camp theatricality. Audition Dates: April 5th - 6th, 2026 Audition Time: TBC (scheduled upon application) Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane Audition Requirements: Short scenes will be provided prior to audition. Actors will workshop material in the room with the director Audition Registration: Email creatives@adastracreativity.com  with current CV (Word or Google Doc only) and a recent headshot. Specify the role(s) you are auditioning for. Audition Pack: Scenes provided upon securing an audition time Performance Dates: August 6th - 29th, 2026 Performance Times: Thursdays and Fridays - 8PM Saturdays 2PM & 7:30PM Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane Rehearsal Dates: Weekly from May through August Rehearsal Times: TBC (two weekday/night rehearsals and one weekend rehearsal per week) Rehearsal Location: Brisbane (Ad Astra venues) Warnings: Adult themes, strong language, satirical and camp content Creative Team: Writer - Lewis Treston Director - Daniel Lammin Production Website: Ad Astra Theatre Other information: This is a co-op production; cast receive a share of ticket sales after expenses Seeking performers with strong comic timing, work ethic, and willingness to embrace camp and absurdity Available Roles/Character Breakdown: Dido Hunter – Female, 17. Recently graduated from a North Queensland high school; estranged daughter of Murray. Murray Hunter – Male, 50–55. Gambler; married into the White family. Eunice White – Female, 70s. Family matriarch; mother of Jade. Jade Hunter-White – Female, 35–45. Mystic; mother of Reese. Reese White – Male, 17. “Demon twink”; recent high school graduate; son of Jade. Macka – Male, 30–35. Double agent. Officer Sheryl – Female, 30–40. Chaotic free agent. Stinger – Male, 30–35. Bikie lord (non-suspect). Note: Macka and Stinger will be played by the same actor.

Title: Mamma Mia! The Musical Presented By: The Star Gold Coast, The Very Popular Theatre Company Genre: Jukebox Musical Synopsis: Set on a Greek island, Mamma Mia!  follows Sophie, a young woman about to be married, who secretly invites three men from her mother Donna’s past in hopes of discovering which is her father. Told through the music of ABBA, the story celebrates love, friendship, and identity. Audition Date: March 30th, 2026 Audition Self-Tape Due: Submissions close 11:59PM, March 30th, 2026 Audition Requirements: First round auditions will be by video submission and should include the following in one video: Slate & Introduction (Max 1 min) - Please state your name and which role(s) you would like to be considered for Audition Song - Perform a song of your choice in the style of the show (do not perform a song from the show) Audition Registration: Submit your video audition via the link HERE . Submissions should include: Self Tape (unlisted YouTube or Vimeo link ONLY; videos that require downloading will not be considered, ensure your link is working before submitting) Headshot (JPEG or PNG with performer’s name as file name) Resume/CV (PDF format with performer’s name as file name) Audition Pack: Mamma Mia! Audition Pack Performance Dates: September 4th - 20th, 2026 Performance Times: Tuesday to Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 1PM & 6PM Performance Location: The Star Theatre, 1 Casino Dr, Broadbeach QLD 4218 Rehearsal Dates: August 18th - September 4th, 2026 Rehearsal Times: Principal Cast - Tuesday to Friday 1PM - 9PM & Weekends 10AM - 6PM Ensemble Cast - Tuesday to Friday 6PM - 9PM & Weekends 10AM - 6PM Rehearsal Location: Gold Coast Production Website: The Star Gold Coast - Mamma Mia! Other Information: Principal artists will be engaged under a weekly fee of $1,350 Amateur Ensemble artists will receive an honorarium of AUD $2,000 Available Roles/Character Breakdown: The roles of Donna and Bill have been cast Sophie Sheridan – Female – Pop Soprano/Mezzo (F#3–E5) Female, Caucasian, 18–20. A very special young woman determined to find the romance and happiness she feels eluded her mother. Has a wild, zany spirit despite pursuing a conventional marriage. Strong pop belt with upper mix. Harry Bright – Male – High Baritone/Tenor (C#3–F#4) Male, Caucasian, 40–45. May be Sophie’s father. A British financier—wealthy, buttoned-up, and conservative, but trying to reconnect with his freer, youthful self. Actor who sings. Baritenor. Strong English accent. Tanya – Female – Mezzo-Soprano (E3–E5) Female, any ethnicity, late 30s to mid 40s. A former singer in the Dynamos. Rich, sophisticated, acerbic, funny, and witty. Actor who sings. Mezzo belt. Rosie – Female – Alto/Mezzo (E3–D5) Female, any ethnicity, late 30s to mid 40s. A former Dynamo who now runs a feminist press. Confident and funny on the outside but shy underneath. Kooky, playful, and a strong comic actress. Actor who sings. Sam Carmichael – Male – High Baritone (D3–Ab4) Male, Caucasian, 40–45. May be Sophie’s father. A charming, successful architect who left Donna years ago due to another engagement. Actor who sings. Bari/tenor. Sky – Male – Tenor/High Baritone (Eb3–D5) Male, any ethnicity, mid to late 20s. Sophie’s fiancé. Athletic and very attractive. Has given up his business life to help rebuild Donna’s taverna and marry Sophie. Strong singer. Ali – Female – Mezzo-Soprano (G3–D5) One of Sophie’s best friends and a bridesmaid. Impulsive, bubbly, and fiercely loyal. Forms a tight vocal trio with Sophie and Lisa. Strong mover/dancer required. Lisa – Female – Mezzo-Soprano (G3–Db5) Sophie’s other best friend and bridesmaid. Vibrant, fun-loving, and excited for the wedding. Provides strong vocal harmonies. Strong mover/dancer required. Pepper – Male – Baritone/Tenor (A2–F5) A bartender at the taverna and one of Sky’s friends. High-energy, cheeky, and confident—famously makes a bold move on Tanya. Excellent dance skills required; acrobatics a plus. Eddie – Male – Baritone/Tenor (A2–E5) Helps run the taverna and is one of Sky’s mates. Laid-back, good-natured, and comedic. Often distracted but eager to help. Strong movement skills required. Amateur Ensemble – Female/Male Any ethnicity. Excellent singers with strong pop/rock voices and very good dance ability. Acrobatics and partnering skills are a plus. Seeking dynamic and diverse performers across all voice types (Altos, Mezzos, Sopranos, Basses, Baritones, Tenors). Some ensemble members may cover principal roles.

Your Song The Little Red Company Venue:  Brisbane Powerhouse Director:  Naomi Price Cast:  Jason Arrow, Luke Kennedy, Irena Lysiuk, John O’Hara Band:  Mik Easterman (drums), OJ Newcomb (bass), Damian Sim (keys), Stephen Ward (guitar) I was barely in my seat before I was already smiling. Enormous shiny baubles hung around the stage, coloured lights danced across the space, and a live band sat ready to launch into a night of concert, cabaret, and storytelling. And just to be clear, as they cheekily warn us early on, this is not an Elton John tribute show. “To avoid a lawsuit, none of us are playing Elton John.” What it is, though, is something far more interesting. Instead of impersonation, Your Song  is built around real stories submitted by the public. Weddings, funerals, births, heartbreaks, identity journeys, chaotic life events… all tied together by the music of Elton. The cast bring these stories to life with short monologues and musical numbers, creating a patchwork of human experience that is deeply personal yet universal. It also invites you to reflect on your own relationship with his music. I certainly found myself doing exactly that, thinking back to my first exposure through The Lion King  (when I was still in the womb, technically), The Road to El Dorado , and the inevitable family vinyl collection. You’re not just watching a show, you’re remembering alongside it. The quartet of Jason Arrow, Luke Kennedy, Irena Lysiuk, and John O’Hara are, quite frankly, annoyingly and ridiculously talented. The vocals are pristine across the board, with fresh harmonies when the arrangements take unexpected turns. Jason Arrow’s I Guess That’s Why They Call It the Blues  leans into smooth, almost boyband-style harmonies (think Westlife meets Human Nature), while Luke Kennedy’s Rocket Man showcases a falsetto so clean, performed alongside Jason on guitar, Irena Lysiuk is a standout in both presence and versatility. Her ukulele version of Your Song is gentle and sweetly funny (“you can tell everybody this is your song… or not”). She also brings emotional weight to Sorry Seems to Be the Hardest Word  and, frankly, looks incredible doing all of it in that neon orange jumpsuit. John O’Hara rounds out the group with engaging storytelling and strong musicality. His Crocodile Rock  taps into a daggy Aussie dad energy that gets easy laughs, while Goodbye Yellow Brick Road , is stripped back to a raw, belted piano moment that feels like a private emotional release by John. One of the show’s greatest strengths is its willingness to play with the material. You won’t hear these songs the way you expect, and that’s very much the point. Don’t Go Breaking My Heart  becomes a road trip-ready country number with acoustic guitar and double bass, prompting the audience to bop along whether they mean to or not. The band, a tight four-piece, handles these stylistic shifts with ease. Piano features heavily (as it should), and the arrangements are consistently thoughtful rather than gimmicky. Candle in the Wind , joined by the Little Red Choir, is genuinely haunting, particularly as it connects to stories of Princess Diana. It’s one of those moments where the room noticeably stills. The emotional range of the storytelling is where Your Song  really finds its heart. Some stories are touching, particularly those centred on queer identity and self-discovery, reflecting the impact of Elton John’s unapologetic presence in both the industry and the world. Then there are the totally wild stories, like a roller-skating wedding set to Tiny Dancer  involving a groom named Tony. And then there’s the divorce party set to I’m Still Standing , which is just pure catharsis and it might have been my favourite moment of the night. I would love if the audience was encouraged to stand up for that number, because it totally deserves it. When the finale megamix arrives, showcasing iconic colored sunglasses, feathered shoulders, and a full-company dance party with songs like Can You Feel the Love Tonight , Pinball Wizard , That’s What Friends Are For , and more, it's nearly impossible not to be swept up in the excitement. What makes this show land is its sense of connection. It’s polished, yes. The vocals are exceptional, the band is tight, the design is colourful and engaging. But it never feels distant or overly slick. There’s a genuine sense that the performers are sharing something with you, not just presenting it. It celebrates not just Elton John’s catalogue, but the way songs weave themselves into our lives, marking moments big and small. It’s heartfelt without being heavy, funny without undercutting its sincerity, and inventive without losing sight of what makes these songs so beloved in the first place. And if you don’t like the arrangements? Well… you can always go home and put your Elton album on. But I’d recommend staying for this instead.