Off Broadway Presented by: Base Entertainment Venue: Brisbane Powerhouse Date Attended: 9 August 2026 Choreographer: Rachael Peters “Get ready to kick line and jazz hands your way through Broadway history!” Twenty-four musicals. Eight cast members. An alarming number of costume changes. Off Broadway barrels through Broadway history with its foot firmly on the accelerator. This new musical theatre revue raids Broadway’s greatest-hits catalogue for two packed acts of familiar favourites at Brisbane Powerhouse. Off Broadway isn’t digging around for forgotten gems. It’s serving the big ones (songs that have escaped their original productions and become cultural fixtures in their own right). These are the numbers audiences will recognise within a few bars. Having seen 22 of the 24 featured shows on stage (not to brag hehe), I came in with plenty of reference points. The only two missing from my theatrical bingo card were Anything Goes and Kiss Me, Kate. Everything else has reached me through Broadway, the West End, professional tours, community theatre, cabarets, cast recordings, pro shots, slime tutorials, film, TV (Glee lol), and basically every MT showcase ever. That left Off Broadway with the tricky job of competing with decades of very familiar versions. Its solution was... dazzle. Off Broadway opens at full tilt, racing through numbers from Moulin Rouge! and Kiss Me, Kate. The choreography wastes no time showing off the cast’s stamina, with the dancers already attacking demanding movement in their mirrorball leotards. I was five minutes in wondering how these dancers were expected to survive the night! With 24 shows on the itinerary, there’s no time to linger. Voiceovers and cast narration shepherd us through the decades, dropping in bits of Broadway history and giving the writers their proper credit along the way. Starting with the likes of Anything Goes and Guys and Dolls, we witness musical theatre’s sound, movement, and style evolve through the years. By the time Jesus Christ Superstar brings us into the ’70s, things have become progressively louder, sexier, and more complicated both musically and choreographically. A Chorus Line receives its deserved place in the timeline (the show famously helped drag Broadway through one of its roughest periods), before Chicago gives the cast a chance to flex their Fosse skills. The dancers’ precision captures exactly why his style is still so satisfying to watch. Chicago gets FOUR songs, by the way (“Hot Honey Rag”, “Cell Block Tango”, “All That Jazz”, and “We Both Reached for the Gun”). Somebody involved has a clear favourite. And I get it. The choreography is consistently one of Off Broadway’s strongest assets. Choreographer Rachael Peters keeps the cast in near-constant motion, with athletic movement, partnering, floorwork, and stylistic shifts between shows. The music for “Big Spender” gets a club-style remix, showing early on that the revue isn’t precious about preserving every iconic number exactly as we know it. In fact, it’s often most interesting when it makes its own choices. “The Sound of Music”, for example, gains a completely different character through a baritone interpretation. “Singin’ in the Rain” becomes a jazzy duet for Bridie Erwin-Keirl and Bailey Nathan-Park, who waltz gently around the stage as they sing. Perri Espinoza carries a considerable amount of the vocal load across the evening. Anything Goes gives us our first look at her impressive breath control, before Cabaret lets her unleash the power, range, and charisma. Her Elphaba moment arrives, inevitably, with “Defying Gravity” (because a Broadway celebration was never getting out of that building without Wicked). I also need to acknowledge the costume because I loved it! Alexander Thorpe proves particularly versatile. His Riff Raff in the Rocky Horror section has exactly the required bite, while his Phantom is commanding and vocally well suited. “The Phantom of the Opera” also delivered one of the evening’s funniest unintended moments when that organ blasted through the theatre and scared the absolute bejeezus out of the audience. Vocally, though, the number also exposed one of the revue’s recurring issues: not every song is equally well matched to its performer. Espinoza handles much of Christine’s punishing upper register, but the role sits less comfortably elsewhere in her range. Similar issues crop up later. “Hopelessly Devoted to You” loses some of its lower notes, while Connor Micallef takes several passages down an octave for the Grease and Jersey Boys material. Micallef has considerable charisma, and the Jersey Boys sequence is fun, but with material so strongly associated with Frankie Valli, I did miss that famous falsetto. Almost everything in Off Broadway arrives with an iconic performer or production attached to it. That makes thoughtful vocal allocation especially important. The cast of only eight is asked to cover an enormous range of styles, voice types, characters, and decades, and there were moments where adjusting a key or redistributing a song could have allowed the performers to show themselves to greater advantage. Bailey Nathan-Park throws himself into the Peter Allen section, with the audience clearly enjoying the exuberance of "Rio" (even as I wondered how anybody onstage still possessed functioning lungs). The ensemble’s stamina throughout is formidable. The boys have a particularly cheeky time with Priscilla, Queen of the Desert. After the relentless movement and variety of the first act, the second becomes noticeably ballad-heavy. “Beauty and the Beast” uses the Celine Dion and Peabo Bryson pop duet rather than material from the stage musical for some reason, with Espinoza and Thorpe serenading one another while adding a very small amount of waltzing. Having the dancers take over the movement while the vocalists simply sang may have given the sequence more visual scale. Then there’s “Any Dream Will Do” with Thorpe in a rainbow blazer. I know Joseph and the Amazing Technicolor Dreamcoat is beloved, but I would still cut that song (sorry not sorry). By comparison, the final stretch is guaranteed to get people excited again, with Mamma Mia!, Fame, and Footloose helping close the evening exactly as a show like this needs to finish. Visually, Off Broadway keeps the Powerhouse unusually connected to its audience. House lighting remains relatively bright for much of the performance, helping the whole room feel part of the celebration. The audience was bopping their heads, tapping their feet, and occasionally singing along. I don’t blame them. For audiences who haven’t had the chance to see many of these musicals live, Off Broadway works as a tasting platter of musical theatre hits. I can imagine that choosing the setlist was a nightmare to narrow down. There are some obvious omissions, including work by Sondheim, Lerner and Loewe, Gershwin, and Bernstein, as well as Les Misérables (presumably because of song rights), but there’s still plenty here to keep musical theatre fans mentally ticking boxes. The costumes do much of the time travelling, rapidly shifting between eras, characters, and recognisable theatrical looks. I was less convinced by the AI-generated projections, which often look noticeably artificial beside performers. For a production built around Broadway spectacle, I would have loved the visual design to match that same level of human craftsmanship. Thankfully, the choreography and singing can’t be AI-generated. Sound is another area that could use some tightening. This is a very LOUD show, and the balance doesn’t always give the vocals much clarity against the tracks. That cast is ultimately what sells Off Broadway. They dance like their lives depend on it, sprint through musical theatre history with barely enough time to breathe, and step into roles made famous by some of the biggest performers in the world without the luxury of a full production building around them. Off Broadway will particularly appeal to audiences wanting Broadway’s greatest hits packed into one exuberant night. Musical theatre diehards may have opinions about the song choices and interpretations (hello, it’s me), but there’s plenty of fun in recognising what’s coming next. In the end, the dazzle did its job. I couldn’t look away.

Alice by Heart Presented by: Phoenix Ensemble Director, Set, Costume: Hayley Gervais Musical Director and Sound: Rae Rose Choreographer: Hannah Macri Lighting Designer: George Pitt Photography: By B'rit Creative "Today he is your dearest friend. Tomorrow, a statistic." Childhood stories are like little time capsules. We learn them before we know what grief is, before we understand war and before we realise that the world is not always going to feel like a storybook. For me, that comfort story growing up was Harry Potter. I knew the castle, the spells, the creatures, and the exact feeling of returning to that world when my own was just too much. For Alice, her escape hatch is Lewis Carroll’s Alice’s Adventures in Wonderland from 1865. She knows it “by heart”, not just as a book, but as this magical place she can run to when reality becomes too unbearable. Brought to you by Phoenix Ensemble, Alice by Heart takes place in an underground tube station during World War II, as Londoners shelter from Germany’s bombings. In the middle of this fear and confinement, Alice Spencer clings to the story she knows off by heart and to her best friend, Alfred, as tuberculosis and war close in around them. As she recites the story, the people in the shelter morph into Wonderland characters, and the line between memory, fantasy, and reality blurs. Directed by Hayley Gervais, who also designed the set and costumes, this production has a lovely sense of visual invention. Hayley creates a versatile world that can shift in a blink, with hidden nooks, levels, and objects that seem to appear and disappear as Alice’s mind reshapes the space around her. The hand-painted Wonderland backdrop adds a storybook quality, placing us somewhere between a childhood illustration and a half-remembered adventure Madeleine Ford is part of the production’s central casting, with Jade Jose stepping in as the alternate Alice at the performance I attended and she was stunning. Alice is an enormous role in any configuration, requiring innocence, vocal stamina, imagination, and constant emotional engagement. This production clearly understands Alice as the beating heart of its strange, splintered world. Jade's soft English accent fit the role beautifully, with a vibrato that seemed to shimmer through the room. She gave Alice a delicate desperation, like someone fighting to hold the pages together even as the world tears them apart. In the quieter moments, she exhibited beautiful control and then transitioned into a thrilling belt for I’ve Shrunk Enough. Kaitlin Evans plays Alfred/White Rabbit, bringing a frantic, sweet, anxious energy to both roles. Their White Rabbit is an absolute cutie, full of urgency and nervous charm, while their Alfred carries a delicate fragility. The line “I have so little time” sits at the emotional centre of the production, and Kaitlin gives it a painful simplicity throughout. Jade and Kaitlin sound incredible together, particularly in Afternoon and their duet Still, which is one of the most tender musical highlights of the show. It has that suspended quality of two people trying to preserve one perfect memory while time keeps ticking anyway. I have to say, I didn’t feel the emotional connection between Alice and Alfred as strongly as I wanted to. Their vocal blend was lovely, but the relationship didn’t quite reach the aching intensity the story needs. In a musical so dependent on the terror of losing that one special person, that bond should feel almost unbearable. I’m not sure if that came down to chemistry, the writing, or simply my own read of the performance, but for me, it kept the emotional core at a slight distance. I overheard a few people nearby assuming they were brother and sister, and I can understand how that reading might happen. The emotional impact of the show relies on their bond, so the more evident their love, history, and co-dependence are, the more devastating the ending can be. Ella Maree is a divine as Tabatha/Cheshire Cat. She brings a sly, silky presence to the world, blending beautifully with Jose in Those Long Eyes. Later, Some Things Fall Away is a gorgeous showcase for her voice. Ella has that lovely quality of drawing attention without pushing for it, and there is definite star power in progress here. Anna Ryan is hypnotic as the Caterpillar, with an intoxicating mix of voice, movement, and cockney swagger. Her work in Chillin’ the Regrets is one of the production’s top group moments. The harmonies, lighting, and choreography come together for a trippy psychedelic experience, with the full ensemble wearing arm socks like caterpillar legs to create a playful and surreal stage picture. Later on, Anna's epic vocal riff in Isn’t It a Trial? also earns one of those “oh, excuse me?” audience reactions. Emma Erdis is fabulous as the Red Cross Nurse/Queen of Hearts, bringing command, mania, and vocal power. They portray just the right amount of danger and diva energy, especially in Isn’t It a Trial?, where the whole scene becomes a gleeful explosion of courtroom craziness. Emma shushing the band is a perfect comic beat, and their riffing sends the number flying into the heavens. Beside them, Campbell Briggs proves wonderfully versatile across Dr Butridge, King of Hearts, Jabberwocky, and Mock Turtle. Campbell has a strong instinct for silliness, but also knows when to sharpen it into something darker. His King of Hearts dance moves just about steal the room, while his work in the Jabberwock material gives the show a heavier, more ominous energy. Brillig Braelig, with gas masks, creepy choreography, and George Pitt’s moody lighting, is a particularly effective sequence, reminding us that Wonderland’s monsters and wartime horrors are not as separate as they first seem. Side note, the Queen and King's crowns made of scissors and syringes are a brilliant design detail, marrying medical imagery with Wonderland royalty. August Cocks brings sass, wit, and strong character detail to the Mad Hatter. Sick to Death of Alice-ness, is the strongest pieces of character work for me, with August, William Thomas as Dormouse, and Kaitlin Evans as March Hare playing with rhythm, attitude, and cockney bite as they gleefully toy with Alice. The music and lighting work tightly together here, and the number has a lively, mischievous feel with a darker undercurrent beneath it. Delilah Bennett, as Clarissa/Queen of Diamonds, adds colour and texture to the ensemble with bright character work and lifting voice. Jack Barrett had the audience laughing so hard they were practically rolling in the aisles in the role of the Duchess. With a towering wig, hip bustles, heels that are a workout in themselves, and a flair for drama, this Duchess is a spectacle. Every “PIG!” is delivered with the gravitas of a royal decree. It’s the perfect kind of absurdity, and Jack transforms a character most of us vaguely recall from the original story into someone suddenly impossible to forget. Ammi Johnson as Young Alice and Spencer and Fraser Goodreid as Young Alfred tug at the heartstrings in their brief appearances, reminding us that Alice and Alfred’s bond begins before the crumbling world starts asking adult things of them. Their tender presence gives the production its sense of lost innocence. “I thought we would come down here again and again” lands as one of the most painful lines in the show: the childhood belief that the people and places we love will simply keep being there. Musically, Rae Rose does excellent work as musical director, with a band sound that is high quality throughout. Under Rae's direction the harmonies are clear, the ensemble numbers have weight, and the band supports the singers without swallowing the sound (even when the mics are being crunchy). Rae's sound design also helps bridge the war and Wonderland atmospheres. Hannah Macri’s choreography is so inventive and full of personality. It is at its strongest when the movement feels born from the strange logic of Wonderland: the Caterpillar’s many limbs, the Jabberwock’s gas-mask menace, the ensemble surges in The Key Is, and the epic physicality of I’ve Shrunk Enough. George Pitt’s lighting design is a major asset. The shadow work used to create Alice’s changing size is particularly effective. The lighting in Chillin’ the Regrets, Sick to Death of Alice-ness, and Brillig Braelig works exceedingly well, giving each number its own distinct texture while supporting the emotional and visual shifts of the story. I see how director Hayley Gervais is drawing inspiration from the original production’s costume style, where characters don’t need rabbit ears or cat whiskers to tell us who they are. It keeps Wonderland feeling like something built from memory, not a literal dress-up box. There is cleverness in the way this production lets reality and fantasy bleed into one another. The world around Alice is never quite what it first appears to be. I did find myself wanting a little more visual grit from the Blitz setting. Given the historical reality of overcrowded tube shelters, illness, exhaustion, and fear, I think the hair and makeup could have leaned a touch further into wartime dreariness. Alfred, especially, could perhaps appear more physically affected by tuberculosis and his confinement in quarantine. The paleness is there, but I found myself wanting clearer visible signs of illness, perhaps through red splotches, more unkempt hair, or gaunter makeup, to help the stakes land more immediately. It is worth saying that Alice by Heart is not a straightforward musical. Like the original Alice’s Adventures in Wonderland, it is nonsensical, symbolic, and deliberately confusing. Some folks might find it hard to follow, and some of the symbolism may pass you by on a first watch. But that strangeness is part of its identity. What Alice remembers “by heart” is not always what is actually on the page. Trauma distorts things. Memories can get twisted. Across two one-hour acts, Phoenix Ensemble offers a production that is highly whimsical, nostalgic, musically and choreographically strong, and full of striking individual performances. This is a show set in an era where death was common and indiscriminate, where children were not spared just because they have had less time to live. Around 43,500 civilians were killed over nine months during the Blitz, but grief remains heavy no matter how much of it surrounds you. Loss may have been everywhere, but that does not make it lighter for anyone. “The pages turn so quickly,” the show reminds us. Alice by Heart asks us to look at Wonderland not just as a place of escape, but as a place where a young woman finally begins to understand what she cannot change. When the bombs are falling and the pages are slipping from our hands, a childhood story cannot save us. But it can sit beside us, familiar and worn, and help us breathe through the hard things, one page at a time.

Title: The Pirates of Penzance Presented By: Savoyards Genre: Musical Comedy / Gilbert & Sullivan Synopsis: Savoyards sets sail in 2026 with a bold, high-energy new production of The Pirates of Penzance, inspired by the iconic Essgee revival and reimagined for a new generation. Featuring the same creative team behind the smash-hit Shrek the Musical in 2024, this production blends the classic wit of Gilbert & Sullivan with contemporary theatrical flair, sharp comedy and dynamic choreography. Fast, funny and fresh — pirates have never looked, sounded or moved like this. Audition Date: June 26th - 29th, 2026 July 1st, 2026 (Callbacks) Audition Time: Principal Auditions Friday June 26th: 7PM - 10PM Saturday June 27th: 11AM - 12PM Sunday June 28th: 9AM - 12PM (with accompanist) & 12:30PM - 5PM Monday June 29th: 7PM - 10PM Movement & Ensemble Auditions Saturday June 27th: 12:30PM - 1:30PM or 4PM - 5PM Ensemble Vocals: 1:30PM - 2:30PM Dance Ensemble: 2:45PM - 4PM Callbacks Wednesday July 1st: 7PM - 10PM Audition Location and Address: June 26th, 28th & 29th - Savoyards Hall, Ferguson Street, Manly June 27th - Waterloo Bay Leisure Centre, 241 Tingal Road, Wynnum July 1st - Wynnum State High School, Peel Street, Manly Audition Requirements: Principal Auditions Prepare: Two contrasting 60-second song excerpts (32 bars) Material that demonstrates vocal strength and versatility in the style of the show Applicants will receive script sides upon registration confirmation. Movement & Ensemble Auditions General ensemble auditions include vocals and movement Dance ensemble auditions include vocals and dance Dance audition choreography taught on the day General ensemble and soloists will receive movement video prior to auditions Attire Requirements: Clothing suitable for movement Sneakers/enclosed flat shoes Jazz/ballet shoes and chorus heels encouraged for dance auditions Audition Registration: Register via email: auditions@savoyards.com.au Include: Name Mobile phone number Roles auditioning for Whether accompanist is required Audition Pack: The Pirates of Penzance Audition Pack Performance Dates: September 25th - October 10th, 2026 Performance Times: Fridays & Saturdays Evening - 7:30PM Sundays Matinee - 1:30PM Saturday 3 October & Saturday 10 October - 1:30PM & 7:30PM Performance Location: Iona Performing Arts Centre, 85 North Road, Wynnum West Rehearsal Dates: Commencing Sunday July 5th, 2026 Additional key dates Launch Event - Saturday August 8th, 2026 Sitzprobe - Sunday September 13th, 2026 Bump-in - September 11th - 12th, 2026 Bump-out - Sunday October 11th, 2026 Rehearsal Times: Sundays - 12PM - 5PM Mondays & Wednedays - 7PM - 10PM Rehearsal Location: Wynnum West State School, School Road, Wynnum West Performer Age: Minimum age 16 years Creative Team: Director - David Harrison Musical Director - Nicky Griffith Choreographer - Julianne Burke Assistant Director - Joshua Moore Production Website: Savoyards - The Pirates of Penzance Other Information: Savoyards is Brisbane’s oldest continuously running musical theatre company This is an amateur community theatre production All cast and crew are expected to assist with production duties including bump-in and bump-out Savoyards is committed to diversity, inclusion and cultural safety Performers of all backgrounds, identities and abilities are encouraged to audition A social media blackout applies until official cast announcements Available Roles / Character Breakdown: Frederic - Male | Playing Age 20–30 | Tenor (C3–B4) Earnest, loyal and unintentionally dramatic. Strong singer with charm. Mabel - Female | Playing Age 18–30 | Soprano/Coloratura (C4–D#6) Bright, confident and vocally fearless with excellent comic timing. Pirate King - Male | Playing Age 30–50 | Baritone/Bass-Baritone (F#2–F4) Charismatic, theatrical and larger-than-life. Ruth - Female | Playing Age 40–60 | Alto/Mezzo-Soprano (F3–A♭5) Fiercely devoted with bold comic energy. Major-General Stanley - Male | Playing Age 40–65 | Baritone/Tenor (B♭2–F4) Fast-talking, witty and absurdly confident. Sergeant of Police - Male | Playing Age 25–55 | Bass/Baritone (F2–C4) Deadpan and gloriously over-serious. Edith - Female | Playing Age 18–30 Confident and delightfully bossy. Kate - Female | Playing Age 18–30 Sweet, romantic and grounded. Isabel - Female | Playing Age 16–25 Bright, eager and energetic. Samuel - Male | Playing Age 20–40 | Baritone/Tenor (B♭2–E4) The Pirate King’s loyal right-hand man. Dancer Ensemble - Any Gender | Playing Age 16+ High-energy dancers with strong technique and stamina. General Ensemble - Any Gender | Playing Age 16+ Versatile performers portraying pirates, police and daughters throughout the production.

Title: When the Wind Blew Presented By: Paula-Mary Camilleri in association with Eli J Ball & Shine Performing Arts Academy Genre: Family-Friendly Original Australian Musical Synopsis: When the Wind Blew is a family-friendly musical set in the vast and vibrant Australian bush. Bursting with heart, humour and unforgettable songs, this uplifting production invites audiences of all ages on a journey about courage, friendship and finding where you belong. The story follows Hazel, a young sugar glider terrified of taking her first glide. When a fierce storm violently shakes her from her tree and separates her from her family, Hazel finds herself lost and alone in an unfamiliar world. With no choice but to move forward, she must discover a bravery she never thought she had in order to find her way home. Along the way, Hazel meets an eclectic group of companions: Ziggy, a cautious echidna; Peanut, a gentle koala; and Arthur, a nervous spider. Guided by Coco, a wise wallaby, they travel across the bush to seek guidance from Madam Virginiana, a mystical possum whose tea-leaf riddles challenge each character’s understanding of home and belonging. But danger lurks in the shadows. Diesel, a cunning and vengeful dingo, relentlessly pursues them with the help of his eerie accomplices. As the journey grows more perilous, the group learns that home isn’t just a place—it’s the people who walk beside you. Audition Date: Sunday 12 July 2026 Audition Time: Children's Ensemble - 9AM -10AM Hazel Auditions - 10AM - 11AM Adult Auditions (Ensemble & Leads) - 12PM - 2PM Callbacks - 3PM - 4PM Audition Location and Address: St Benedict's College, Mango Hill, Queensland Audition Self-Tape Due: 5PM, Saturday 11 July 2026 Audition Requirements: Children's Ensemble Audition: Dance call Learn and perform a song from the show Cold read from the script Wear appropriate dance attire and footwear Hazel Audition: Must attend Children's Ensemble session Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Cold read from the script Adult Auditions (Ensemble & Leads): Dance call Tap call (if experienced) Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Possible cold read from the script Wear appropriate dance attire and footwear Callbacks: Script readings Learn and perform material from the show Online Auditions: Submit two contrasting 1-minute or 32-bar musical theatre songs Include headshot and video link Email submissions to info@shineperformingartsacademy.com.au Video should be filmed waist-up with clearly audible vocals Audition Registration: Via Shine Performing Arts Academy Audition Pack: When the Wind Blew Audition Pack Performance Dates: 18 - 20 December 2026 Performance Times: Friday – 7PM Saturday – 2PM & 7PM Sunday – 2PM Performance Location: Redcliffe Entertainment Centre, Downs Street, Redcliffe, Queensland, 4020 Rehearsal Dates: Read Through - Sunday 19 July 2026 Costumes/Photos - Tuesday 21 July 2026 and Sunday 2 August 2026 Music & Dance Rehearsals - Most Tuesdays, Thursdays and Saturdays from August 2026 Tech Week - Tuesday 15 December – Thursday 17 December 2026 Rehearsal Times: Costumes/Photos - 5PM - 8PM Tuesdays & Thursdays - 7PM - 9PM Saturdays - 1PM - 4PM Tech Week - 5PM - 10PM Rehearsal Location: St Benedict's College, Mango Hill Tech Week - Redcliffe Entertainment Centre Warnings: Theatrical haze Strobe lighting effects Auditionees may be photographed and recorded during auditions and callbacks Performer Age: Hazel: 10–16 years (playing approximately 8 years old) Children's Ensemble: 10–16 years Adult Principal, Featured and Ensemble Roles: 18+ Creative Team: Producers - Paula-Mary Camilleri & Eli J Ball Director - Paula-Mary Camilleri Choreographer & Musical Director - Eli J Ball Casting Consultant - Teagan Fudge Production Manager - James Reid Orchestrations - Eli J Ball Additional Piano/Vocal Arrangements & Score Preparation - Benjamin Heintz Production Website: Shine Performing Arts - When the Wind Blew Other information: This production celebrates the diversity of Queensland’s performing arts community and encourages performers of all backgrounds, experiences and abilities to audition. Applications from culturally and linguistically diverse performers and performers living with disability are strongly encouraged. All cast members aged 18+ must possess or obtain a current Blue Card. Cast members must comply with Shine Performing Arts Academy's Child Safety Action Plan, Code of Conduct and Media Consent policies. The production will be professionally recorded in audio and visual formats. Participation is unpaid. There is no participation fee and no performer compensation. Auditionees should be available for the duration of their audition session. Additional material may be requested during auditions or callbacks. Call time for performances is 90 minutes prior to curtain up. Available Roles/Character Breakdown: Hazel - Female-identifying, 10–16 years (playing approximately 8 years old) | Soprano (belt to Eb5). A young sugar glider who has a deep fear of gliding. Strong actor and vocalist required. Arthur - Male-identifying, 20s–30s | Tenor. A nerdy, quirky and uncertain spider on a journey of self-discovery. Brielle - Male or Female, 18–30 years | Tenor or Mezzo. A sly and mischievous goanna with a talent for trouble. Curly - Male or Female, 18–30 years | Tenor or Mezzo. A dim-witted curlew with a knack for getting into trouble. Coco - Female-identifying, 18+ | Soprano. A wise and warm-hearted wallaby who serves as narrator and guide. Hazel's Mum - Female-identifying, 25+ | Soprano. A caring and devoted parent. Hazel's Dad - Male-identifying, 25+ | Baritone/Tenor. A loving but firm parent who guides Hazel. Stewart / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Flamboyant tiger quoll. Doubles as Passerby and Wombat 2. Joyce / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Owner of the Gum Leaf Cafe. Doubles as Mother Platypus. Peter / Ensemble - Male-identifying, 18+ | Baritone. Co-owner of the Gum Leaf Cafe. Doubles as Ernie the Emu and Wombat 1. Adventurer 2 / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Doubles as Emu 1 and Galah 1. Mal / Ensemble - Male-identifying, 18+ | Tenor. Flamboyant magpie. Adventurer 1 / Ensemble - Male-identifying, 18+| Tenor. Human explorer. Doubles as Kevin the Kangaroo. Lenore / Ensemble - Female-identifying, 18+ | Soprano. A parrot with a sore claw. Doubles as Mother Skink. Belvedere / Ensemble - Male-identifying, 18+ | Tenor. Doubles as Kookaburra. Parrot / Ensemble - Female-identifying, 18+ | Soprano. Doubles as Galah 3. News Reporter / Ensemble - Female-identifying, 18+ } Mezzo-Soprano. Doubles as Galah 2 and Emu 2. Kangaroo / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Doubles within the ensemble. Milly / Ensemble - Female-identifying, 18+ _ Mezzo-Soprano. A flirtatious red wattle bird. Tilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Lilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Myna Bird / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Father of Tommy Tweets. Lorikeet / Ensemble - Male-identifying, 18+ | Baritone/Tenor. An energetic lorikeet. Ensemble/Dancers/Swings - All genders, 18+. Triple-threat performers playing multiple ensemble roles. Strong technical dance skills, including Broadway-style tap, preferred. Brenda / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A sassy dunnart. Sophie / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A nosy owl. Sophie S / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A kind lizard. Tommy Tweets / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A pompous myna bird. Oliver / Children's Ensemble - Male-identifying, 10–16 years | Tenor. An energetic lorikeet. Liam / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A nerdy platypus.

Triple Bill: Glassworks + Rendezvous + One of Those Days Presented by Brisbane Ballet at QUT Gardens Theatre Date Attended: 6 June 2026 Choreographed by Rosetta Cook, Arianna Marchiori, Emrys Goldsworthy Photography by Alisa Poturaeva Dance has a way of communicating what words often make clumsy. It lets dancers tell stories without handing you the words, which is fortunate, because I am not going to pretend I know ballet terminology beyond the basics. I came to Glassworks + Rendezvous + One of Those Days as someone who appreciates dance more than I can technically explain it, and what I got was three bold, beautifully performed works that made me sit there completely absorbed. This was not a program that stayed in one lane. 'Her' moved beautifully between three worlds: the sensual tango of Rosetta Cook’s Rendezvous, the pulsing complexity of Arianna Marchiori’s One of Those Days, and the ambitious force of Emrys Goldsworthy’s Glassworks. Rather than presenting female experience as one neat, easily defined thing, the triple bill allowed it to shift shape. It appeared as desire and connection, as repetition and solidarity, and as discipline and transformation. The program opened with Rosetta Cook’s Rendezvous, performed by Lucinda Worthing-Shore and Tynan Wood. Set in the world of Argentinian tango, it carried heat, restraint and elegance, with ballet softening the movement without draining its suspense. The lighting and haze softened the stage into a secretive blur, like a private affair glimpsed through gauze. Wood opened with playful nerves, all preparation and anticipation. But that energy changed as soon as Worthing-Shore appeared. She was a stunner in elegance, control and presence. Her heel work was immaculate, and she moved with such confidence that the stage seemed to rearrange itself around her. Though Rendezvous was brief, only two movements, it felt complete. The choreography used chairs, floorwork and close partnering to build sensuality through trust. The lifts had strength without showboating, and there was genuine intimacy between the two dancers. Arianna Marchiori’s One of Those Days was danced by Hannah Nash, Shanti Barlow, Rebecca Dooley, Maeve Rooney, and Molly Bell. These five women in rusty brown and navy dresses took the stage in socks to create a completely different world for this piece. One of Those Days felt like being dropped inside the nervous system of a group of women trying to get through the day, the week, the body, the expectations, the everything... It opened with a pulsing beat and a series of tableaux around a table, each one caught for just a few seconds in the spotlight. Those brief images gave flashes of mood and meaning before vanishing. I read them as fragments of girlhood; tiny snapshots of emotion, pressure, performance, fatigue, and defiance. The synchronised work of the dancers was especially striking. These five girls were clearly distinct in style, yet they frequently moved as a single entity. The choreography progressed from fast, sharp phrases, bodies throwing themselves to the floor, to more fragmented sections where they seemed separate and self-contained. Then the distance broke. They carried, held, embraced, and acknowledged each other. That transition from isolation into support was one of the most affecting parts of the piece. The lighting was stunning throughout this work. Much of it came from wide spotlights above, carving the dancers out of the dark and letting shadows become part of the storytelling. The music, often EDM-like and heavy, thumped around the space and gave the work a restless charge. Some recurring images threaded through the work stayed with me: movements of “lifting yourself up,” sprinting in circles, hints of “three wise monkeys” motif, and poses that startled because of the sheer strength they revealed. Some choreographic moments were unlike anything I had seen before, which is probably both a sign that I should watch more dance pieces and that this work was doing something truly fresh. For me, One of Those Days travelled through many facets of girlhood and sisterhood. It looked at the internal cycles women move through, but also the external expectations that shape how much of those cycles they are allowed to show. It captured empathy, tension, conformity, exhaustion, resistance, and recognition. The final and largest work of the evening was Emrys Goldsworthy’s Glassworks, named for composer Philip Glass and set to his hypnotic, orchestral music. Performed by Lucinda Worthing-Shore, Tynan Wood, Rafaela Morel, Rubi Hawkins, Hannah Nash, Shanti Barlow, Rebecca Dooley, Maeve Rooney and Molly Bell, this was an immense work that fused post-classical contemporary dance, pointe work and neoclassical ballet. And look, I am not going to pretend I can technically explain everything I saw. I cannot. What I can say is that Glassworks was wildly impressive! The first movements had a fast, urgent quality that I loved immediately. The dancers hit frame after frame with startling precision, and they did it on pointe! They glided across the stage like they were on ice skates, skimming through space with speed and grace while the music surged underneath them. Rafaela Morel also delivered some truly astonishing moments. I wrote in my notes, “Rafaela does the craziest shit I swear,” and while I should probably phrase that more professionally, the sentiment remains accurate. Her movement had a daring, almost reckless quality, but with the control of someone who knew exactly what she was doing. She seemed to attack the choreography with complete commitment. One of the most fascinating things about the choreography was how often the dancers moved around each other in entirely different ways. Rather than everyone simply doing the same thing at once, the stage was full of intersecting patterns, separate choreographic ideas, and shifting relationships. Dancers crossed, chased, circled, curved and cut through the space, creating a constant sense of intricate motion without chaos. As the music calmed, the work shifted. Pointe shoes were shed and replaced with sockettes, opening the door to more contemporary movement. This change altered the whole texture of the piece. It became less about the crystalline sharpness of pointe and more about the body folding, reaching, stretching, contracting and grounding itself. The lyrical variations stood out to me as some of the coolest choreography of the night, paired with some of the most beautiful music. The dancers seemed to use every body part with complete conscious control, down to the smallest ripple or redirection. Worthing-Shore and Wood were stunning in their pas de deux together, this time in a completely different mode from Rendezvous. I mean just look at these photographs! Instead of tango intimacy, their connection in Glassworks had a chasing quality, like two forces being pulled toward and away from each other across the stage. Their partnering was elegant and athletic, and emotionally charged. There was no obvious narrative to cling to and there was not meant to be. Glassworks was far more interested in subverting expectations of ballet and pushing the artform into stranger, sharper, more elastic territory. It was ballet, yes, but not the traditional storybook version. It was progressive, athletic and sometimes unhinged... Goldsworthy’s choreography felt like the work of someone determined to stretch, crack, twist and reassemble the body in every conceivable way. I mean that as a compliment, though I am not sure the dancers’ hamstrings would agree! Together, the works made for a rich and varied performance. The program did not flatten female experience into one neat idea. It let womanhood arrive in contradictions: passionate and powerful, tired and vulnerable, soft and strong, connected and distant, beautiful and unstoppable, disciplined and wild.

Title: 9 to 5 The Musical Presented By: Beenleigh Theatre Group Genre: Musical Comedy Synopsis: Set in the late 1970s, 9 to 5 The Musical follows three very different women pushed to breaking point by their sexist, arrogant and dishonest boss, Franklin Hart. Violet is an experienced office manager repeatedly overlooked for promotion, Doralee is judged and isolated because of rumours spread by Hart, and Judy is entering the workforce after the collapse of her marriage. When a series of misunderstandings and wild fantasies spirals out of control, the women find themselves holding Hart captive and taking over the company. With Hart “otherwise engaged,” Violet, Judy and Doralee transform their workplace, introducing changes that support the people who actually keep the business running. Featuring music and lyrics by Dolly Parton, the musical combines friendship, revenge, workplace satire and empowerment with country, pop and contemporary musical theatre. Audition Information: Saturday 15 August: Dance tutorial: 9:00am–9:30am General Dance Call 1: 9:30am–10:00am General Dance Call 2: 10:00am–10:30am Advanced Dance Call: 10:30am–11:30am Sunday 16 August: Individual auditions: 9:00am–6:00pm in ten-minute appointments Callbacks, by invitation only: Wednesday 19 August from 7:00pm Audition Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Audition Self-Tape Due: Saturday 15 August 2026 at 6:00pm Video auditions are available for performers unable to attend in person. Contact info@beenleightheatregroup.com for the submission requirements. Audition Requirements: Prepare two contrasting song excerpts, each between 30 seconds and one minute: One musical theatre song in the style of the production, such as contemporary musical theatre, country, pop or rock. One song in any genre that demonstrates your individual vocal strengths and personality. Songs from 9 to 5 must not be used. Backing tracks must be pre-cut and supplied on a device suitable for a wired connection using Lightning, USB-C or auxiliary input. All auditionees must attend a general dance call. A tutorial video will be available in advance, with an optional teaching session held before the calls on 15 August. Performers auditioning for featured roles that double in the ensemble must attend the Advanced Dance Call. Those auditioning for Violet, Judy or Doralee are strongly encouraged to attend it. Prepare one of the acting sides supplied in the audition pack, choosing the character with whom you most closely align. Redirection or an additional cold reading may also be requested. Audition Registration: Book an audition appointment Audition Pack: Download the audition pack Scheduling: Performance Dates: 20 November – 5 December 2026 Performance Times: Friday 20 November: 7:30pm Sunday 22 November: 2:00pm Friday 27 November: 7:30pm Saturday 28 November: 2:00pm & 7:30pm Friday 4 December: 7:30pm Saturday 5 December: 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Rehearsal Dates: First rehearsal: Monday 24 August 2026 Bump-in: Sunday 20 September Promotional photoshoot: Monday 21 September Sitzprobe: Sunday 25 October Technical period begins: Sunday 8 November Media preview: Monday 16 November Bump-out: Sunday 6 December – compulsory Rehearsal Times: Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Sundays: 2:00pm–7:00pm Other Information: Production Website: Beenleigh Theatre Group Auditions Warnings: Sexism and workplace harassment References to infidelity and divorce Drug use Strong language and sexual references Staged intimacy Stage combat Physical restraint and kidnapping Heavy staged physical contact for the role of Franklin Hart Performer Age: 18+ This production will not accept applications from performers under the age of 18, including for the role of Josh. Creative Team: Director: Ruby Thompson Musical Director: Alex Angus Choreographer: Jackson Poole Stage Manager: Harley Roy Other information: All intimacy, combat and restraint scenes will be choreographed with performer safety and wellbeing prioritised. Auditionees are encouraged to disclose any relevant boundaries or limitations during the audition process. This is an inclusive casting process. Auditionees may apply for any role regardless of age, race, ethnicity, gender identity, cultural background or disability, except where identity is integral to the text. Successful performers must become financial members of Beenleigh Theatre Group for 2026. Membership costs $10 and must be paid before the first rehearsal. Known rehearsal and performance conflicts should be disclosed during the audition process. Available Roles/Character Breakdown: Violet Newstead Female-presenting | Playing age: 40–50 | Vocal range: F3–D5 The company’s Head Secretary and Franklin Hart’s administrative assistant. A capable single mother who is ambitious, outspoken and repeatedly overlooked despite keeping the office running. Requires strong acting and excellent comic timing. Doralee Rhodes Female-presenting | Playing age: 20–30 | Vocal range: G3–E5 A spirited and capable young employee who is unfairly judged because of her appearance and Hart’s rumours. Requires strong country/pop vocals and a convincing Southern or Texan accent. Judy Bernly Female-presenting | Playing age: 30–35 | Vocal range: Ab3–F5 The nervous new employee entering the workforce after her husband leaves her. Initially insecure and inexperienced, Judy gradually discovers independence and confidence. Requires strong contemporary vocals and good comic timing. Franklin Hart Male-presenting | Playing age: 30–50 | Vocal range: C3–Gb4 The company’s sexist, egotistical and dishonest executive. Able to perform superficial charm but generally arrogant and self-serving. Requires an outstanding comic actor with confident vocals. Includes staged combat, restraint and heavy physical contact. Roz Keith Female-presenting | Playing age: 30–45 | Vocal range: G3–C5 The office gossip and Hart’s devoted informant. She is infatuated with him and desperate for his approval. Requires an excellent character actor with a strong belt voice. Joe Male-presenting | Playing age: 25–35 | Vocal range: B2–G4 A kind and genuine young accountant who is attracted to Violet. Dwayne Male-presenting | Playing age: 25–30 | Vocal range: E2–G4 Doralee’s supportive and affectionate husband. This performer will also appear in the ensemble. Josh Male-presenting | Playing age: 15–20, cast with an actor aged 18+ Violet’s awkward teenage son. The performer will also appear in the ensemble. Missy Hart Female-presenting | Playing age: 20–35 Franklin Hart’s wife, unaware of much of her husband’s true behaviour. This performer will also appear in the ensemble. Maria Female-presenting | Playing age: 20–35 | Vocal range: F4–D5 A bright and energetic secretary in Hart’s office. This performer will also appear in the ensemble. Dick Male-presenting | Playing age: 30–40 Judy’s unfaithful soon-to-be ex-husband. He is an ordinary man who has aged less gracefully than he imagines. This performer will also appear in the ensemble. Kathy Female-presenting | Playing age: 25–40 | Vocal range: G4–D5 An office secretary with a fondness for gossip. This performer will also appear in the ensemble. Margaret Female-presenting | Playing age: 25–40 An office secretary with a tendency to drink. This performer will also appear in the ensemble. Tinsworthy Male-presenting | Playing age: 35–50 Hart’s superior and Chairman of the Board. A fundamentally decent man who may understand more about Hart than he initially reveals. This performer will also appear in the ensemble. Ensemble Any gender | Adult performers | All vocal types Approximately eight to ten strong singer-dancers who will portray office workers, police officers, hospital employees and the featured supporting roles listed above.

From Up Here Presented by: Footlights Theatrical Inc. Venue: Crete Street Theatre, Beenleigh Theatre Group Date Attended: 7 August 2026 Written by: Aaron Lee Lambert Director: Andrew Engelsmann Assistant Director: Pagan-Leigh Camilleri Musical Director: Alex Angus Set Design and Construction: Ian Johnson Lighting Design: CJ Avery Sound Design and Operation: Levi Rayner Stage Management and Props: Pagan-Leigh Camilleri “From up here, there is perspective.” From Up Here is a small contemporary musical following five strangers whose lives cross on the Brooklyn Bridge. Some are there by chance, some are looking for perspective, and some are considering whether to jump. Over the course of a year, connections form, circumstances change, secrets come out, and each return to the bridge seems to shift something for them. The musical itself is quirky, earnest, a bit cheesy, and then suddenly much heavier than you expect. The songs tend to come in short bursts rather than huge showstoppers, with reprises, underscoring, and transitions constantly weaving these stories together. With only five performers, there is absolutely nowhere to disappear on that stage. Each carries their own story, dramatic material, solo work, and individual vocal line, before those five voices come together in some seriously intricate harmonies. What impressed me most, though, wasn’t simply the singing. It was their phenomenal acting. Emilia Povey as Jill makes one of the strongest early impressions as a highly strung young woman who interrupts Alan’s workday with a pregnancy crisis. Emilia has excellent comic instincts, especially when Jill’s thoughts start racing much faster than she can process them. Her number Positive is wonderfully silly (especially once she starts hurling pregnancy tests in Alan’s direction). Jill could easily stay the kooky comic character of the group, but Emilia reveals something much more vulnerable underneath. Her later solo Being Eleven, reflecting on childhood and her father, is beautifully simple, carried by her clear, bell-like voice. On the receiving end of all that chaos is Mark James as Alan, a businessman far more comfortable discussing work than emotions. With his suave manner, polished New York accent, constant phone calls, and approximately twenty things happening at once, Mark looks increasingly horrified by how exactly he ended up involved in Jill’s predicament. The Life of Riley captures that frantic energy perfectly (with the band bubbling underneath), as work, family, responsibility, and ambition all start colliding. Mark handles the escalating pressure with great comic timing. Because if we don’t laugh at it, we’ll cry... Later, that polished facade begins to crack, and And Then Alan exposes the vulnerability and regret underneath all that productivity. James Bird’s Dan arrives at the bridge with a camera and a project to photograph strangers. He has a romantic soul, an obvious fascination with people, and a tendency to notice beauty before practicality. James brings an easy warmth to Dan, particularly opposite Lisa Alsop as his partner, Emily. Their duet This Camera is very cute, with Dan admiring Emily so completely that he puts her on a pedestal. Literally. James is also sent into some impressively high vocal territory and handles those upper notes with confidence. There is a real sweetness between Dan and Emily, which only makes things more painful once we understand what she is keeping from him. Lisa Alsop carries some of the heaviest material in the show as Emily faces a terminal illness while desperately avoiding what it means for both herself and Dan. Her logic is painfully understandable. If she distances herself, keeps things inside, or pushes him away, perhaps she can spare him some of what is coming. Lisa allows Emily to be angry, frightened, withdrawn, and occasionally difficult without trying to make any of it pretty. Facing mortality doesn’t suddenly turn somebody into an inspirational poster. Running Out gives her room to finally let that anger burst through, while Emily’s Choice turns inward again as she considers what trying to “free” Dan might actually take away from both of them. A quieter form of grief comes through Leo Bradley’s Henry, a recently widowed man who brings an entirely different perspective to the bridge. Leo gives him a gentle calm that contrasts beautifully with the panic, avoidance, ambition, and romantic optimism around him. “Sometimes confiding in a stranger is easier than facing your fears,” he tells Emily. That idea sits right at the heart of From Up Here. These people repeatedly say things to strangers that they can’t say to the people closest to them. Sometimes there’s freedom in talking to someone who arrives without history, expectation, or judgement. Of course, those supposedly insignificant conversations aren’t always insignificant after all. The ensemble work is particularly satisfying whenever all five stories collide musically. I loved the recurring dream sequences, where each character describes increasingly strange dreams before their individual thoughts lock together in deliciously dissonant harmony. With only five singers, there is no chorus around them to bulk out the sound or quietly rescue a harmony that has wandered off somewhere. The resulting group passages are some of the loveliest moments in the score. The four-piece band deserves heaps of credit too. Under Musical Director Alex Angus, with Alex on piano, Harry Argent on reeds, Danny Kwok on violin, and Alivia Kenwrick on cello, four musicians create an impressively full sound from their corner of the theatre. Alex also pulled double duty by arranging the score herself. Andrew Engelsmann’s direction keeps the actors and their relationships firmly at the centre of the story. With so much emotional ground to cover, the performances need to feel natural rather than overly theatrical, and Andrew gives them plenty of space to listen, react, and let those quieter character shifts land. Ian Johnson’s design suggests the Brooklyn Bridge rather than attempting to recreate it, using raised levels and seating to give these strangers different places to stop and temporarily enter each other’s lives. Levi Rayner’s sound design adds distant traffic beneath the action, a small touch that keeps New York moving around them even when these characters stop. There is plenty of heavy material here: terminal illness, grief, depression, loneliness, pregnancy, regret, and mortality. Yet From Up Here never becomes relentlessly bleak because connection keeps sneaking in. A photographer notices a stranger. A grieving man listens. A work-obsessed businessman unexpectedly becomes someone’s support person. Someone says exactly what another person needs to hear without realising how important it might become. And life keeps moving. The show wears its heart openly, and some of the songs happily lean into that particular brand of contemporary-musical cheesiness. Its compact structure works in its favour, with short songs, quick ideas, and very little getting between the audience and these five performers. Footlights Theatrical has taken an unknown little musical and trusted its cast to carry it through acting, storytelling, and ensemble singing. I went in expecting the music to be the main attraction. Instead, I came away thinking about the people. Five strangers, five very different lives, and a bridge that gives them somewhere to stop long enough to actually notice each other.

She Loves Me Presented by: Phoenix Ensemble Date Attended: 8 August 2026 Book: Joe Masteroff | Music: Jerry Bock | Lyrics: Sheldon Harnick Director and Set Design: Sherryl-Lee Secomb Music Director: Emma Erdis Choreographer: Jaime O’Donoghue Sound: Luke O’Hagan Lighting: Liam Gilliland Costumes: Emma Parkinson Intimacy Coordinator: Tammy Sarah Linde Stage Manager: Fiona Mumford Photography: Loud Photography / Creative Street / By B’rit Creative “Dear friend…” Before dating apps and stalking someone’s socials, romance involved waiting days for a handwritten reply from someone whose face you’d never even seen. She Loves Me takes us back to 1934, when two strangers could fall completely in love without realising they weren’t strangers at all. The musical is the third adaptation of the 1937 play Parfumerie by Hungarian playwright Miklós László, following the 1940 film The Shop Around the Corner and the 1949 musical film In the Good Old Summertime (and later inspiring the Hanks-Ryan flick You’ve Got Mail). Premiering on Broadway in 1963, She Loves Me follows the staff of Maraczek’s Parfumerie, where manager Georg Nowack and new employee Amalia Balash cannot stand each other. Neither has any idea that they are also the anonymous “Dear Friends” exchanging increasingly intimate letters outside work. Under the direction and design of Sherryl-Lee Secomb, the production looks like a classic film brought to life in colour. Secomb’s parfumerie set features pastel mint and purple hues, complemented by styled wigs, vintage-style costumes, and those consistently pasted-on retail smiles. I must admit, Ilona’s green velvet dress is undoubtedly my favourite. Despite our supposedly Hungarian location, this Budapest is populated by British accents, with Georg pronounced as the more familiar George. Life at Maraczek’s is wonderfully ostentatious. These aren’t sales assistants who simply thank you for your purchase. They literally sing you out the door. Masteroff’s book is full of character-driven humour, with everyone bringing their own neuroses, romantic fiascos, workplace loyalties, and polished public personas. The score is packed with short, frequent numbers that make their point then move along. Bock and Harnick’s music is sneakier than it first appears. Just when I think I know where it’s heading, the melody turns, a character changes their mind mid-song, or the emotional direction shifts underneath them. This cast rides those changes beautifully, guided by Emma Erdis’ musical direction. David West makes Georg exactly the sort of irritating manager you’d complain about to your coworkers after your shift. He is particular, self-important, and a tad oblivious, but there’s enough spark in his constant bickering with Chloe Evans as Amalia that their hostility never feels one-note. In “Tonight at Eight,” we see Georg’s nerves about meeting his mystery sweetheart send him increasingly off the rails until he is practically dismantling the shop. Then “She Loves Me” (roll credits) gives us the complete opposite. After spending so much of the show tightly wound, Georg finally gets to be giddy and overwhelmed by his own happiness. Chloe Evans as Amalia is excitable and optimistic, with a bright classical soprano that suits this old romantic world beautifully. “I Don’t Know His Name” captures the ridiculousness of being so invested in someone almost entirely theoretical, while “Will He Like Me?” turns that sunny confidence into a puddle of nerves. “Dear Friend” is especially intimate, like we are accidentally witnessing a private confession. Evans also has excellent comic instincts, from a spectacularly furious tirade at Georg (Amalia may be a romantic girly, but she can absolutely lose it) to the fever-induced playful “Where’s My Shoe?”. “Vanilla Ice Cream” then lets Evans flex that classic soprano sound while navigating Amalia’s thoughts changing quicker than she can process them. Around them is a staff I’d happily be served by. August Cocks is dangerously smooth as Steven Kodaly, a complete jerk played with such effortless charm that it’s easy to see how he keeps getting away with everything. I’d probably hand over cash for the overpriced perfume without a second thought. His song “Ilona” with Grace Clarke is a cheeky piece of musical flirtation, boosted by Jaime O’Donoghue’s characterful choreography. “Grand Knowing You” hits my ears as another musically tasty standout. Grace Clarke is perfectly cast as Ilona Ritter, completely disappearing into her sharp wit and larger-than-life confidence. Ilona doesn’t take long to decide she’s done putting up with rubbish men, making “I Resolve” her full doormat-to-door-slammer moment (and my new go-to anthem). Later, “A Trip to the Library” gives Clarke another great storytelling moment as Ilona unexpectedly stumbles into a much healthier romantic prospect. Mike Zarate gives Sipos the air of the coworker who has survived every possible office drama. His solo “Perspective” lands with the wise confidence of someone who has absolutely seen this all before and knows exactly when to duck out of the firing line. Joshua Brandon’s Arpad Laszlo is basically a puppy in a sweater vest. He’s eager, desperate to prove himself, and someone I’d have adopted into my friendship circle by shift two. “Try Me” turns all that enthusiasm into an adorable (and surprisingly convincing) job application. Now that is how you get yourself promoted people. James Hogan as Mr Maraczek is all boss-man bluster and crankiness at first, but there’s clearly something heavier simmering underneath it. Without giving too much away, Hogan handles the moments where the musical briefly steps outside its rom-com bubble with enough restraint to stop the tonal shift from becoming jarring. Reece Rostedt steals every available moment as the tightly wound maître d’ in “A Romantic Atmosphere”. The restaurant sequence becomes its own little comedy piece, especially during the absurdly fast “Tango Tragique”, where every attempt to preserve sophistication is gradually destroyed by increasingly hopeless waitstaff. Isabella Farry makes the most of her featured moments, trying to master the required poise with increasingly disastrous results. Jaime O’Donoghue’s choreography sends the dancers scurrying around with a distinctly Mary Poppins penguin-waiters quality. The ensemble hits peak hilarity during the Christmas retail chaos. If you’ve ever survived customer service in December, you’ll relate. Clerks, customers, and carollers flood the store as those polished retail smiles begin to crack. Secomb’s direction is excellent here. Instead of simply making the stage look “busy”, individual messes pile on top of one another until the whole store is collectively losing its mind. And the audience absolutely ate it up. I would have had no idea She Loves Me premiered in 1963 from the way this production plays. There is nothing dusty or museum-like about the writing or acting. The humour comes from recognisable people, and it never needs to make fun of its characters to get a laugh. It’s simply a lot of fun to watch. Plus, the central idea has aged very little. Technology has changed considerably since the 1930s, but hiding behind a carefully constructed version of yourself before letting another person see the flawed human underneath is hardly an extinct dating habit. For such a sweet, funny, and surprisingly underrated musical, She Loves Me deserves far more attention than it gets. I walked in knowing very little about it and left wondering why this wonderful little romantic comedy isn’t staged more often. Dear Friend, consider this my recommendation.

Second Coming Presented by: La Boite Theatre & Playlab Theatre Venue: Roundhouse Theatre, La Boite Date Attended: 6 August 2026 Playwright: Kathryn Marquet Director & Dramaturge: Ian Lawson Set & Costume Designer: Bill Haycock Lighting Designer: Geoff Squires Composer & Sound Designer: Wil Hughes AV Designer: Nevin Howell Production Manager: Teegan Kranenburg Stage Manager: Teddy Waddingham Director Associate: Lizzy Stanfield Flore Cast: Ashlee Lollback, Merlynn Tong, Gideon Mzembe, and Anthony Standish Digital Cast: Darren Gilshenan and Helen Howard Voice of AIDA: Dr Elise Greig “People are too focused on their victimhood.” Humanity has ruined Earth, toilet paper is now an endangered species, a prayer app is funding a mission to Mars, and a trillionaire believes he is the new Noah. So, things are going pretty well in the future of civilisation... Kathryn Marquet’s new Australian sci-fi tragicomedy Second Coming sends four astronauts aboard the ARK MARK II towards Mars and humanity’s proposed fresh start (the appropriately named Second Eden.) It begins as a fairly ridiculous workplace comedy in space, complete with cabin fever, content creation, a missing guinea pig (look at the hero image closer), and an AI assistant who won’t stop reciting proverbs. The crew has already spent 36 days together, they’re travelling towards a planet that can’t currently sustain human life, and these may be the last people they ever see. No pressure... At the centre is geneticist Evie Mezzina (Ashlee Lollback), whose role in the GENESIS mission is to preserve Earth’s disappearing animal species and establish new life on Mars. Alongside her are her geologist husband Alan (Anthony Standish), commander Zara Chen (Merlynn Tong), horticulturalist Noah (Gideon Mzembe), and the ship’s eerily cheerful AI system AIDA (voiced by Dr Elise Greig). GENESIS controls the mission from Earth under its extraordinarily wealthy and increasingly unhinged founder, Zane Brooksbank (Darren Gilshenan). The Roundhouse is particularly well suited to this little pressure cooker. Bill Haycock’s multi-level set divides the ship vertically, with Zara’s control station looming above, the crew’s living quarters beneath, and Evie’s laboratory positioned on the lower level. It gives us different pockets of life aboard the vessel while keeping everybody trapped within the same shared environment. Geoff Squires’ incredible lighting pulses through the spacecraft in reds, whites, and blues... hello symbolism! Even Alan’s VR glasses glow as he happily disappears into virtual games while his wife is busy trying to stop several species becoming permanently extinct. Priorities. Nevin Howell’s AV design handles video calls from Zane and Evie's mum (Helen Howard), onboard AI info, and live phone footage projected for GENESIS’ promotional content. The crew are required to create content for Origins.com, because even at the end of the world somebody still has sponsorship deliverables. There’s also a $99 commemorative plate being sold to support the mission. Human civilisation may be collapsing, but capitalism survives! Marquet packs an enormous amount into Second Coming: climate destruction, extinction, religion, reproductive autonomy, genetic engineering, colonialism, corporate propaganda, artificial intelligence, social media, selective breeding, and the basic question of whether humans deserve another go. That density could easily become exhausting, but Ian Lawson’s direction keeps everything moving without the material becoming too heavy-handed. It takes so many aspects of our current lives and nudges them just far enough to expose how ridiculous they already are, and how much worse they could become. The witty dialogue and distinct character types keep it humorous. What makes it uncomfortable is how little fabrication is actually required. “What do my eyebrows have to do with my mental health?” “Everything!” Ashlee Lollback has the difficult job of anchoring all of this madness as her distress becomes increasingly realistic. Evie is homesick, nauseous, dislocated from everything familiar, and carrying the professional burden of making the mission succeed. Lollback is excellent at looking convincingly busy with all the fiddly “science stuff” around the lab. But more importantly, she makes Evie’s emotional deterioration easy to understand. A moment that stuck with me was a lovely quiet scene between Evie and Alan where they talk about everything they will miss about Earth. They don’t suggest technology, wealth, or human achievement. They list flora, fauna, landscapes, and all the tiny natural wonders being left behind. For a play with so much satire bouncing around, these quieter moments give the ecological grief a lot of weight. Evie is also grappling with the possibility of motherhood. The discussion around pregnancy and abortion fits naturally beside a mission already obsessed with creating and controlling life. Evie has been sent to Mars to create life from vials, and suddenly she’s confronting the possibility of creating it herself. “What’s the point of bringing another human child into this mess?” Merlynn Tong as Zara Chen is a terrific opponent for Evie. Zara is authoritative, slightly loony, and unsettlingly calm in places. Tong exudes the confidence of someone aware of her authority, yet small cracks of fanaticism emerge when her beliefs are challenged. Their scenes together are among the strongest because the conflict goes beyond personality. Evie appeals to ethics, compassion, logic, and choice, while Zara can repackage almost anything as necessary progress or dismiss it as “God’s plan.” It has the nightmarish frustration of arguing with someone who simply cannot be swayed. You can explain, plead, scream, and rephrase until you’re blue in the face, but the wall stays put. Anthony Standish brings a different comic rhythm to Alan, the comparatively directionless spouse on a ship full of specialists (or is he...), while still finding moments of affection with Evie underneath her bubbling resentment. Gideon Mzembe is enormously watchable as Noah, the horticulturalist who spends his downtime reading Jane Austen and shares my correct opinion that baby cheetahs are the best animals on Earth (this is relevant character information, I swear.) Mzembe’s relaxed charisma makes Noah easy company early on, but he gets meatier material as the arguments escalate, moving comfortably between comedy, frustration, conviction, and disbelief. AIDA is something entirely different. Dr Elise Greig gives her the polished, bright voice of every virtual assistant we’ve already willingly allowed into our lives. At first, she’s essentially Space Siri, dispensing information, motivational quotes, and observations nobody asked for. Then she gets mouthier, then more aggressive, and eventually her observations about humans become a little too brutal. By the final stretch, Second Coming drifts towards 2001: A Space Odyssey and WALL-E territory, where technology designed to protect humanity has reached the inconvenient conclusion that perhaps humanity is indeed the problem. Given the current speed of AI development, one line landed harder than I think anybody in the room was prepared for. “They (the population) shall be raised by AI!” The audience produced one of the loudest collective groans I’ve heard in a theatre for some time, because with the current Gen Alpha, it already sounds familiar. That’s where Second Coming is sharpest. Its future is heightened and silly, but the distance between 2026 and this dystopia feels alarmingly short. Darren Gilshenan as the digitally appearing overlord Zane has the money, influence, substances, and ego required to make terrible ideas sound visionary (cough cough). Technically, I loved Wil Hughes’ cabin soundscape. The underlying spacecraft hum creates a brown-noise quality - although I think it could be louder. I wanted it surrounding me enough that I could forget the audience was even there. I do have one practical note regarding the simulated vomiting too. I attended the preview performance, and given how realistic the sound is and how early it occurs, I’d strongly recommend an emetophobia warning immediately before the performance. The patron beside me vomited three times within the first five minutes in response to the effect, which is not a criticism of the realism (the effect certainly works!). Also, a completely separate public service announcement: wear a coat. The theatre is freezing! I'll be honest, there's a lot going on in this show. Possibly too much for every idea to receive the depth it needs, but I appreciate that Marquet doesn’t let the themes become a dry lecture either. There’s almost always a ridiculous detail waiting nearby to puncture the seriousness. Second Coming is clever, strange, politically loaded sci-fi theatre with plenty to chew on, particularly for anyone who enjoys speculative stories that take our current behaviour, push it a few decades forward, and show us where we might end up. Underneath the comedy is a pretty pointed interrogation of who gets to shape that future. Billionaires, corporations, and private interests are handed extraordinary power over human survival, while the natural world becomes something to catalogue, package, recreate, or sell. Yet for all its cynicism, the play also feels deeply affectionate towards the planet we have, and asks whether technological progress means very much if our ethics don’t progress with it. The production gave me far more to think about than I expected, while simultaneously laughing at these astronauts having to dance for views and sponsorships online. Its satire is frighteningly current, and its comedy keeps us from plunging into a complete pit of existential despair. I left thinking about extinction, AI, corporate power, and whether humans are actually capable of learning from anything. I also left thinking about baby cheetahs. Balance.

Title: Dressed to Kill Presented By: Mousetrap Theatre Company Genre: Interactive Murder Mystery / Comedy Synopsis: A local theatre group is preparing for its first-ever musical fashion show to raise money for new stage lighting. Unfortunately, the organisers aren't very organised, tensions are mounting, and the cast aren't getting along. Then somebody ends up dead. Dressed to Kill is an interactive murder mystery, with the audience invited to question the characters during part of the show. Cast members will need to think on their feet and respond to audience questions, with multiple possible endings for the production. Audition Date: Wednesday August 12th, 2026 Audition Time: 7PM Audition Location and Address: Mousetrap Theatre, 157 Sutton Street, Redcliffe QLD Audition Requirements: Auditionees will be asked to read from the script alongside other actors. You may be asked to read for multiple characters. Audition Registration: Please send enquiries to Karen Christl - kazgirl_1972@hotmail.com Performance Dates: October 23rd - November 1st, 2026 Performance Location: Mousetrap Theatre, 157 Sutton Street, Redcliffe QLD Rehearsal Dates: Tuesday and Thursday evenings and Sunday afternoons Rehearsal Location: Mousetrap Theatre, 157 Sutton Street, Redcliffe Warnings: Murder/murder mystery themes Performer Age: All cast members must be 18 years of age or older at the time of performance. Production Website: Mousetrap Theatre - Dressed to Kill Other information: This is an interactive murder mystery. During part of the show, audience members will be invited to question the characters. Improv workshops will be run during rehearsals to give cast members the opportunity to practise their off-the-cuff answering skills. There are multiple endings, all of which the cast will be required to learn. Cast members are expected to be available for as many rehearsals as possible. Any prior commitments should be listed at auditions. Successful cast members will be required to become a member of Mousetrap Theatre Company. Available Roles/Character Breakdown: Larry - Stage age: 60+ Founder of the group. Desperate for the group to perform Shakespeare and quotes the Bard whenever he can, often incorrectly and with little context. He is a dreadful ham. Barbara - Stage age: 50+ The other founder of the group. She won't let Larry have his Shakespeare because she is certain the village won't like it. She talks far too much about her successful actor daughter, who is never seen. Shirley Worthington - Stage age: 40+ Bad-mannered, bossy and brash. She is used to getting her own way and joined the drama group to ensure her daughter, Lisa, gets all the good roles. Lisa Worthington - Stage age: Early 20s Believes her mother's praise and is annoyingly overconfident. Once on stage, however, she turns to wood. Ruth - Stage age: 40+ Just as ambitious for her daughter, Karen, as Shirley is for Lisa, but she isn't as obviously pushy. Karen - Stage age: 18 Loathes drama, fashion and music and would rather be anywhere but at rehearsal. She's much happier with her head in a book. Young Peter - Stage age: 60+ The unsung hero of the group. He's desperate to leave and retire, but Barbara and Larry keep dragging him back. Gerald - Stage age: 30+ Loud and flamboyant. He joined the group hoping there would be an opportunity to put on a dress—perhaps in a pantomime—but it hasn't happened yet. Now he's been banned from the fashion show and may have to take matters into his own hands. Marigold - Stage age: 50+ A talented actress who has been with the group for years. Unfortunately, she rarely gets her moment in the spotlight, but she still has hope.

&Juliet Presented by: Queensland Academy of Excellence in Musical Theatre (QAEMT) Venue: Queensland Conservatorium Theatre Date Attended: 5 August 2026 Director: Alister Smith Musical Director: Heidi Loveland Choreographer: Dan Venz Associate Choreographer: Emma Whitefield Set Designer and Costume Co-Designer: Penny Challen Costume Co-Designer and Supervisor: Gayle MacGregor Lighting Designer: Keith Clark Sound Designer: Steve Thornely Voice and Dialect Coach: Dr Melissa Agnew Photography: Kenn Wylchie CAST AT THIS PERFORMANCE: Juliet Capulet: AJ Betts Romeo Montague: Caelan McCarthy William Shakespeare: Saul Kavenagh Anne Hathaway / April: Ella Wood Nurse Angélique: Zoe Allsopp Lander May: Sam Thomas François Du Bois: Harry Ince Lance Du Bois: Ned Kelly The roles of Juliet, Romeo, Anne Hathaway / April, Angélique, and Lance were shared across the season with Alessia Charman, Jackson Hughesman, Lily Bennetts, Addisyn Herndon, and Lachlan Dunks. “Do we have freedom? No. But do we have hope? No.” This was my third production of &Juliet, yet Queensland Academy of Excellence in Musical Theatre gave me plenty of new details to enjoy! It also offered Brisbane audiences the rare chance to see the show after the professional Australian tour skipped our city (rude). Created by Schitt’s Creek writer David West Read, &Juliet interrupts the final pages of Romeo and Juliet before its teenage heroine can stab herself over a boy she met just four days ago. Anne Hathaway seizes her husband’s quill and asks to rewrite one of Shakespeare's most famous tragedies. In this tale, Juliet leaves her past behind to travel to Paris with her nurse Angelique and new friends May and April (aka Anne, who has written herself into the story). There they discover Lance (Angelique’s former lover) and his son François, who is looking to shake off his father’s expectations and forge his own life. With Juliet’s own parents trying to send her to a convent, who will Juliet finally choose? Or, does she need to choose at all?! From there, everyone interferes, dead boyfriends return, engagements are hastily arranged, and every personal crisis is expressed through one of Max Martin’s epic pop songs: Britney Spears, Backstreet Boys, Katy Perry, P!nk, Bon Jovi, Celine Dion, Ariana Grande, Kelly Clarkson, Demi Lovato, Ke$ha, Jessie J... You won’t believe how many bangers this show can fit into two and a half hours! Director Alister Smith frames the production as a fresh story being built in front of our eyes, with Penny Challen’s scenic design blending a rehearsal room, theatre workshop, and backstage area at a stadium concert. Cables, lighting equipment, graffitied cases, scaffolding, costume racks, neon signage, glitter curtains, and movable staircases create a world that can shift whenever Anne alters the plot. A quick clap clap from Will or Anne hits the pause button, freezing the cast mid-action so they can debate their next rewrite. Penny Challen and Gayle MacGregor’s costumes are like a time-travelling fusion of Renaissance and rave clubwear. Corsets sit over graphic tees, ruffs are paired with skinny jeans and sneakers, and fluoro paniers bounce around the dance ensemble. Ned Kelly struts his stuff in leopard-print tights, and Ella Wood's glitter boots have my wholehearted approval. Juliet’s wardrobe is an explosion of pink, from her Capulet-branded corset and shoulder-padded jacket to a jewelled crop, tiered skirt, and white cowboy boots. Her wedding look, followed by the transformation during “Roar,” was possibly my favourite version of that quick change so far. As Juliet, AJ Betts STUNS from the moment they open their mouth for “…Baby One More Time.” Singing these tunes while busting moves in a corset might seem insane, yet Betts pulls it off with the poise and power of a pop headliner. Their Juliet is wonderfully youthful and spunky, throwing herself headfirst into this sudden new freedom and the excitement of having an entire future opened up. Betts is also naturally funny, with a dry delivery that makes some of Juliet’s smallest reactions land just as well as the bigger punchlines. Vocally, Betts seems completely at home in the pop material. Their duet “Oops!... I Did It Again” with Zoe Allsopp Lander is one of the evening’s top vocal treats, with both performers nailing the Britney style. Betts and Harry Ince establish a playful dynamic between Juliet and François. Their “Confident” has the ease of two new friends hyping each other up. Ince gives François a softness that works particularly well beside Sam Thomas’s snappy interpretation of May. Thomas plays May with more sass than the sorrow I’m used to, walking into scenes with a quick tongue, a distinctive accent (Essex? I don’t know!), and no interest in making themself smaller for anyone else. When “I’m Not a Girl, Not Yet a Woman” arrives, Thomas claims that stage. The song becomes both a quiet confession and a declaration from someone who knows who they are and is exhausted by everyone else needing time to catch up. Thomas and Ince are a vocal dream team during “I Kissed a Girl” and “Whataya Want from Me.” Saul Kavenagh is hilariously pompous, dorky, and endearingly irritating as William Shakespeare. He knows Will is ridiculous, and plays it so. His ego is enormous, his frustration becomes increasingly childish, and he still retains enough boyish appeal to explain why Anne has tolerated him for this long. Kavenagh and Caelan McCarthy form an entertaining dude-bro alliance once Romeo makes his comeback through “It’s My Life.” In sequinned trousers and aviators, McCarthy carries himself like the headline act has finally bothered to show up, while Will trails behind like an overexcited roadie (with his dramatic fog machine) At one point, McCarthy appeared to be swallowing half the fog machine’s output and continued serving rockstar confidence (professionalism king!). His voice matches the entrance, with a muscular rock sound and super impressive upper range, while his playful characterisation keeps Romeo’s ridiculous self-importance likeable. The number “One More Try” with Betts is also a reminder that the role requires far more than swagger. Both their vocal ranges are frankly outrageous and had me in constant awe. Against a starlit backdrop, the pair circle one another on the moving staircases, remaining connected while the physical distance reflects everything still unresolved between them. Ella Wood as Anne Hathaway is sweeter and more composed than the pun-driven, cutely-cringe versions I’ve previously seen. Rather than leaning heavily into April’s social awkwardness, Wood brings a gentle, materal presence that strengthens her relationship with Juliet and gives Anne’s own desire for a different life much more weight. And then she sings... “That’s the Way It Is” is DIVINE. Wood’s tone is pure and clear, with a healthy mix belt that blooms as the number builds. She sings with such sincerity that the audience cheered before she had even finished the song, leaving Heidi Loveland and the band patiently waiting for the room to settle before continuing. Zoe Allsopp Lander brings terrific momentum to Angélique. Her dialogue rolls effortlessly off the tongue, and she makes the Nurse’s combination of maturity, exasperation, and romantic chaos feel completely natural. Her rendition of “Perfect” is vocally gorgeous, giving Angélique and Juliet’s relationship room to bloom amid the louder numbers. Ned Kelly as Lance Du Bois is French, shameless, and doing the absolute most at ALL times. During “Teenage Dream,” he chases Angélique around the room like a lovesick cartoon character while still managing to sing cleanly through that deliberately outrageous accent. Later, “Everybody” turns the Du Bois men into a fully-costumed Backstreet Boys tribute band against a hypnotic glitter-curtain effect. Dan Venz and Emma Whitefield’s choreography blew me away. “Larger Than Life,” “Show Me Love,” and “Blow” are particularly packed with movement, while the ensemble handles the material with professional precision. The choreography is littered with musical theatre and pop-culture references that flash past in seconds (but I see ALL). Kavenagh’s shameless participation in “I Kissed a Girl” was one such detail. I saw you there, puppet master Shakespeare. I think &Juliet is an ideal choice for this cohort, needing bold personalities, dancers who can attack pop choreography, and singers capable of handling material written for some of the largest voices in modern music. The third-year performers lead the principal cast, second years fill out the dance ensemble, and first years contribute vocals while helping move the set pieces. It turns the musical into a genuine academy-wide showcase. Steve Thornely’s sound design gives these huge voices room to fly while keeping the lyrics clear, and each new song earns happy murmurs of recognition before the arrangement kicks in. Heidi Loveland leads a cracking live band of Queensland Conservatorium and Young Conservatorium musicians, with strings adding extra richness to the pop arrangements. Keith Clark’s lighting supports that scale beautifully. LED strips frame the front of the stage, vertical neon tubes lower into scenes, and standing spotlights are wheeled through the action like concert equipment. “Roar” feels like the finale of a stadium concert, with Betts at its centre beneath the full lighting rig, completing a major costume transformation, and belting over the full ensemble and band. It is a demanding final stretch, and they OWN it. I can imagine how unstoppable that moment must have felt. Beneath the backstage machinery, neon excess, and pop-culture silliness remains a simple idea: the ending somebody else wrote for you doesn’t have to become the life you accept. Juliet gets to survive, May gets to define themself, and even Romeo receives another chance to be slightly less of a douche. For Brisbane audiences who missed the professional tour, this production is a pretty spectacular introduction to &Juliet. It gives this graduating cohort exactly the kind of material they can sink their teeth into: ridiculous pop vocals, relentless choreography, huge personalities, and plenty of room to show us who they are as performers. This next generation of musical theatre performers are very much ready to take the mic.

Big Fish The Musical Presented by: Spotlight Theatrical Company Book by: John August Music and Lyrics: Andrew Lippa Based on: The novel by Daniel Wallace and the motion picture screenplay by John August Date Attended: 2 August 2026 Director: Nathan French Vocal Director: Taylor Holmes Choreographer: Jo De Goldi Stage Manager: Eliza Taylor Set Design: Jeff Butterworth and Clay English Sound: Caed Lawson Lighting: Ariana Sinner and LJ Jones Costumes: Pina Crisafulli Omeros and team Photography: Vargo Studios “Be the hero of your story.” This Tim Burton film is now a musical. Yes, really. Based on Daniel Wallace’s novel and John August’s screenplay for the 2003 film, Big Fish follows Edward Bloom, a travelling salesman who loves turning his memories into epic adventures. His life is like a grab bag of tall tales, featuring a witch, a mermaid, a giant, a werewolf, and his extended family of circus performers. His adult son, Will, has grown frustrated with these tales. As he prepares to become a father himself, he wants to know Edward's true self beneath all the exaggeration. When Edward becomes seriously ill, Will begins investigating his past, hoping to separate fact from fiction before it’s too late. All the while, Edward sticks to his signature style (mixing myths, life lessons, and always casting himself as the hero). Director Nathan French embraces the musical’s two worlds, moving between domestic family tension and the circus inside Edward’s head. There's a lot going on, and anyone unfamiliar with the story may find themselves scratching their head, wondering if they’ve time-travelled to another decade or stumbled into a parallel universe. The set doesn’t attempt to build each place Edward remembers. Instead, Jeff Butterworth and Clay English give him one enormous glowing doorway and let his imagination do the rest. The slatted arch rises above a timber stage, pier, and waterway. Ariana Sinner and LJ Jones use it almost like a mood ring, shifting its colour to become whatever the story needs at the time without requiring the production to stop for constant scene changes. Smaller set pieces pop up whenever Edward’s imagination requires reinforcements. “Closer to Her” rolls out the circus gear, a human cannonball, and an elephant’s rear end. The bed becomes another portal into his stories, with characters emerging as though Edward has been storing half the ensemble inside his subconscious (or his mind has finally run out of storage space). It’s a fun reveal, although the performers crawling offstage were visible afterwards. We saw you there, gang! With haze drifting across the floor, fish flying overhead, and a crystal ball glowing ominously, the whole design evokes the fantasy of a bedtime story. Clay English has a lot to carry as Edward Bloom, playing him through high school, courtship, parenthood, years on the road, and the final chapter of his life. He is rarely away from centre stage, and Andrew Lippa’s score keeps tossing songs at him like confetti. “Be the Hero” lays out Edward’s philosophy early. Life is an adventure, obstacles are there to be conquered, and there’s always another dragon to fight. The epic “Out There on the Road” keeps that momentum going as he befriends Karl the Giant and leaves his small town behind. English has confidence as a storyteller and clearly understands Edward’s appetite for attention. Where I struggled was with the musical asking the same performer to play Edward across so many decades. The film separates young and older Edward, and I thought that approach would have helped here too. It would create a clearer shift between the larger-than-life young man Sandra falls for and the older father Will is struggling to understand. But I do understand that these are Edward’s recollections as he remembers them, rather than exact recreations of a moment in time. Still, English handles the youthful romantic material well vocally, particularly “Time Stops” and “Daffodils,” where his gorgeous voice does plenty of wooing. “Daffodils” is also one of the production’s prettiest pieces of stage magic. The scenic design suddenly seems to bloom with them, as daffodils pop up into the water, climb the walls, and spread across the projected backdrop until Sandra is surrounded by Edward’s grand gesture. English gets to show plenty across the evening, from strong vocals to tap dancing and the stamina required to carry so much of the show. For me, though, his acting was strongest once Edward was opposite Xavier O’Brien as adult Will. “What’s Next” is a highlight, with father and son finally meeting on the same emotional ground and writing Edward’s last story together in real time. “How It Ends” then gives English his big emotional release, weeping and singing his heart out as Edward’s bravado and showmanship finally fall away. Xavier O’Brien gives Will a solid reality check against his father’s lifelong one-man show. He starts the show as a nervous groom, asking Edward to please make it through the wedding without turning the whole thing into another me-party. That request goes about as well as you’d expect. O’Brien makes Will’s resentment easy to understand without turning him into the antagonist in his father's life (at least until “The Showdown”). Edward was frequently absent during Will’s childhood, and when he was around, Will would never quite tell whether he was hearing actual family history or another engineered fantasy version of it. He has the exhausted air of a man who has heard the same fish story at one family gathering too many. Vocally, O’Brien has a pure, polished sound. “Stranger” is an early highlight, as Will sings to his unborn son about barely knowing his own father. His later confrontation with Edward in “The Showdown” is one of the production’s more outlandish sequences. With Western costumes, heightened staging, and the ensemble rallying around them, father and son are finally placed inside the same story, only this time on opposite sides. Dana Sandry brings a lovely maternal steadiness to Sandra Bloom, caught between two men who love each other but have no idea how to speak the same language. “Two Men in My Life” places her right at the emotional centre of the family, while “I Don’t Need a Roof” gives Sandry her strongest character moment. She keeps the delivery tender and controlled, letting the anticipatory grief arrive through the beauty of the song. Hannah Martin is lovely as Josephine, bringing a softness to the role without fading into the background. She listens to Edward in a way Will no longer can, more interested in what his stories might reveal than in proving whether they’re true. Martin plays that openness with an observant quality rather than naïvety. Her presence becomes a welcome calming influence within the Bloom family. At the performance I attended, Jordi Bridgman played Young Will and built an endearing relationship with Edward through the bedtime-story scenes. Martina French makes a strong impression as the Witch, strutting in with a killer costume and a booming voice that fills the room. Daniel Carson is an immediate visual hit as Karl the Giant, towering on stilts beneath oversized layers and dreadlocks. Carson also gets some lovely dry humour out of Karl, while the friendship lets us see one of Edward’s more appealing traits: he has a soft spot for people who don’t quite fit the mould. Nathan Skaines dons the towering top hat as Ringmaster Calloway. “Closer to Her” transforms the stage into a wild spectacle of hoops, acrobatics, a unicycle, and all sorts of circus shenanigans while Edward tries to earn information about Sandra. Is it an epic love story or just a romantic stalking? You decide! Meanwhile, Jennifer Clark delivers a powerful punch as Edward's first girlfriend, Jenny Hill, especially when she confesses to Edward that she's been “drowning since he left.” For once, one of his tales is being told by someone who has had to live with the aftermath. Jo De Goldi’s choreography makes good use of a musical that isn’t especially dance-heavy. “Red, White and True” brings tap onto the wooden stage with considerable volume. The ensemble brought colour and momentum whenever they appeared. A few moments fell into noticeable pockets of dead space beneath the underscoring. Taylor Holmes’ vocal direction produces secure ensemble work and consistent delivery from the principal cast. “Stranger,” “I Don’t Need a Roof,” and “How It Ends” made the strongest impression on me, largely because the characters speak with such emotional directness. Caed Lawson’s sound design gives the production some real scale, although the music does drown out the dialogue here and there. Visually, the costumes have plenty to play with too, shifting from everyday family life into sparkling dresses, Americana stripes, circus outfits, and storybook looks. The second half reveals a much sadder musical underneath all the colour. Illness starts creeping into the circus, and Edward and Will’s relationship becomes the real focus. While I didn’t connect with the themes of fatherhood as some audiences probably will, I could still see the heart of what the show was saying. “What’s Next” is where that heart lands best for me, as Will finally stops dismantling his father’s stories and helps him create one last adventure instead. Edward uses his stories to make sense of his life, express his love for his family, and shape the narrative he wishes to leave behind. Spotlight Theatrical Company presents Big Fish with visual scale, inventive stagecraft, and committed performances. Audiences fond of the film, Andrew Lippa’s music, or Tim Burton’s whimsy will find plenty to enjoy in Edward Bloom’s enormous world. After all, a big fish in a small pond was never going to tell a small story.