Search Results

Title:   Rock of Ages: Youth Edition Presented By:  Second Star Youth Theatre Genre:  Rock Musical / Comedy Synopsis: Set on L.A.’s iconic Sunset Strip in 1987, Rock of Ages: Youth Edition  follows Drew, a hopeful rocker from South Detroit, and Sherrie, a small-town dreamer chasing stardom. Their love story unfolds against the chaos of The Dupree Room — a legendary rock bar under threat from developers. With rock gods, rebellious dreamers, outrageous glam, and some of the biggest ’80s anthems ever written, this musical is a loud, high-energy celebration of love, fame, friendship, and never stop believin’. Audition Date: Video Auditions Only — Due Saturday 20 December 2025 Audition Time: Submit before 11:59pm on the due date Audition Requirements: Full details are emailed to registered auditionees in early December. Requirements include: 1–2 songs from the show Scene reading options Dance combo with strong energy, personality and performance quality No need to prepare external songs — all material comes from the show Audition Registration: https://forms.gle/3XEXV4rpuTr9CTkY9 Audition Pack: https://drive.google.com/file/d/1dQUDdAw0asQLpvJStQOOaJfdrzltqDnn/view Performance Dates: Saturday 17 January 2026 Performance Times: 3:00pm & 6:00pm Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School, Cnr Cavendish Rd & Holland Rd, Holland Park Rehearsal Dates: Monday 12 January – Friday 16 January 2026 Daily intensive rehearsals: 9:00am – 4:00pm Performer Age: Ages 10–18 (as at 17 January 2026) Director / Music Director:  Lauren McNamara Choreographer:  Isabella Maric Other Information: Participation Fee: $320 per performer Fee includes rights, creatives, venue hire, sets, props, costumes, t-shirt, script, and performance-day dinner All auditionees are guaranteed a place in the cast Some costume items may come from performers’ own wardrobe Audition instructions emailed in December Lead/featured cast will receive materials early to begin learning lines and lyrics Available Roles / Character Breakdown: Lonny Barnett Charming, hilarious narrator. Great comic timing, big personality. Gender: Male — Range: Ab2–Eb4 Justice Charlier Warm, soulful club owner with a powerhouse voice. Gender: Female — Range: Ab2–Eb4 Dennis Dupree Laid-back bar owner with dry humour and heart. Gender: Male — Range: Gb2–E4 Drew Boley Sweet, passionate aspiring rock star. Romantic lead. Gender: Male — Range: G2–Eb4 Sherrie Christian Hopeful small-town girl chasing her dreams in L.A. Gender: Female — Range: G3–Eb5 Stacee Jaxx Over-the-top rock legend with swagger and comedy. Gender: Male — Range: G2–B3 Father Traditional, worried dad. Gender: Male — Range: A2–E4 Mother Warm, supportive, compassionate. Gender: Female — Range: G3–F#4 Mayor Confident, flashy politician. Gender: Any — Range: D3–A3 Regina Energetic, outspoken activist fighting for the Strip. Gender: Female — Range: G3–Eb5 Hilda Klinemann Bold, comedic German developer. Gender: Female — Range: G3–Db5 Franz Klinemann Sweet, gentle-hearted son with big dreams. Gender: Male — Range: Db3–E4 Ensemble Agents, fans, waitresses, bar patrons, dancers, reporters, rockers & Sunset Strip characters. All genders, all voice types encouraged to audition.

Title:   The Savannah Sipping Society Presented By:  Sunnybank Theatre Group Genre:  Comedy Theatre Synopsis: Four middle-aged Southern women, each stuck in a rut, meet by chance at an impromptu happy hour and decide it’s time to shake things up. Over six months of hilarious misadventures, shared secrets, and a healthy dose of “liquid therapy,” these women rediscover joy, confidence, and the power of friendship. A warm, witty, and deeply human comedy about starting fresh — no matter your age. Audition Date: Saturday 22 November 2025 Audition Time: 9:30am Audition Location and Address: Sunnybank Theatre Group, 14 Mains Road, Sunnybank QLD 4109 Audition Requirements: Cold reading from the script (provided on the day) Prepare a Southern accent  (light and lived-in, not caricature) Bring water, wear comfortable clothing Ensemble chemistry is a major casting factor Audition Registration: Register online: https://www.sunnybanktheatre.com.au/audition-register Audition Pack: https://www.sunnybanktheatre.com.au/_files/ugd/82a0a2_1f7fb8633d7d4584874bfa01257a5de6.pdf Performance Dates: 27 February – 14 March 2026 Performance Location: Sunnybank Theatre Group, 14 Mains Road, Sunnybank QLD Rehearsal Dates: Begin early January 2026 Rehearsal Times: Tuesday evenings, Saturday 10am–4pm Performer Age: Adults — generally mid 40s to early 70s (playing ages) Creative Team: Director — Diane Watson Production Website: https://www.sunnybanktheatre.com.au/auditions Other Information: Strong ensemble chemistry is vital — the heart of this production is the bond between the four women Performers must commit fully to both rehearsal blocks and performance dates A Southern accent is required but should feel grounded, warm, and authentic All auditionees will be contacted with their outcome Available Roles / Character Breakdown: Randa Covington — Late 40s to early 50s Structured, professional, and tightly wound. Recently made redundant and desperately trying to keep her pride intact. Sharp, witty, vulnerable underneath. Dot Haigler — Late 60s to early 70s Warm, gentle, newly widowed and trying to navigate life alone. Sweet, open-hearted, quietly adventurous. Marlafaye Mosley — 50s Wild, brassy, unapologetically outspoken. Recently divorced and moving on with fire and humour. Must balance comedy with emotional depth. Jinx Jenkins — Late 40s to mid 50s Charismatic, energetic, previous-life-coach vibes. Always on the move, always chasing something. Playful, dramatic, deeply human.

Virginmobile by Amiel Simpson Presented by Passion Productions Directed by Jack Winrow Passion Productions presents Virginmobile , a fresh Australian play that dives straight into the messy, emotional tornado of being twenty-something. It all unfolds over one long, chaotic night at Mark’s 21st birthday party. If you've ever been the frazzled host, the reluctant designated driver, awkwardly sharing space with your ex, or the tipsy friend spiralling for no clear reason... you will definitely recognise yourself in this cast of characters. We meet Vienna (Kat Coomber), Mark (Aidan Calleja), Morgan (Cheney Hossack), Shoe (Kodi Ryke), Kake (Midori Cruz), and Asaiah (Liam Wilson). Each is a familiar friend-archetype, coloured with enough bite, insecurity, and emotional truth to feel lived-in rather than one-dimensional. The story by Amiel Simpson is original, sharply observed, and deeply relatable in that “I’ve lived this exact evening” kind of way. Quick heads up: there are mild adult themes and lots of drinking. Kat only stepped into the role of Vienna three weeks ago while also stage managing, which is highly impressive! Vienna is the one throwing the party (for the boy she has a crush on). She plays the role with a frantic, hyper-responsible energy; fussing over decorations, freaking out when things go south, letting uninvited guests crash, and desperately trying to keep chill while quietly disintegrating on the inside. I really feel for her. Big time. Morgan, played by Cheney Hossack, nails that perfect blasé vibe, especially when dealing with the nightmare of being stuck at a party with your ex! Kodi Ryke owns the role of Shoe (real name Harry), the loveable douchebag of the group. He blurts out whatever pops into his head, overindulges in alcohol, and whirls through the night on a series of chaotic, misguided decisions. Cheney and Kodi are so natural in their performances that it often feels like they’re living the moments, not acting them. Asaiah (Liam Wilson) is like that friend who brings cookies for everyone; instantly endearing! He has some of the most vulnerable lines in the show, the kind that make you stop and exhale. “I’m not sure that the people I want to spend time with, want to spend any time with me” lands hard in the middle of all the drunken antics. His articulation is the most clear too, which is a blessing in this echoey space. Aidan Calleja as Mark, the birthday boy, is a goofy and slightly clueless character who moves through conversations and situations with an innocent charm and random bursts of humour. Aidan’s presence is a total delight whenever he’s on stage, creating an atmosphere of laughter and lightheartedness. Midori Cruz brings a lovely softness to Kake (real name Kate?). Her awkward conversation with Asaiah feels incredibly true to life: that quiet moment where two almost-strangers try to bond at a party. The final section shifts to Vienna’s car — the infamous “Virginmobile” — where she begins the thankless task of dropping everyone home... with a detour to KFC, of course. Emotions run high as jealousies flare, crushes are exposed, feelings are bruised, and the façade every character has been clinging to finally crumbles. It’s messy, honest, and very well written, even if this last portion feels a bit lengthy. At about 90 minutes without an interval, the pacing dips toward the end, but the emotional payoff held my attention. The stage setup is basic: snacks, drinks, an inflatable couch, a guitar, and a small birthday poster. The town hall venue is air conditioned (thank goodness) but the old structure unfortunately swallows much of the sound. With rapid dialogue, several actors facing away from the crowd, and the audience seated quite far back, a good chunk of lines become tricky to hear. The sight-lines are also tough, especially since the raised stage doesn’t get used until the final third, and even then it isn’t lit downstage. Even with these venue limitations, the atmosphere of the party feels wonderfully real. Side chats spark up, juicy gossip trickles through the group, tempers flare, and boozy confessions spill out. It really does feel like eavesdropping on actual friends at 2 a.m. when everyone is a little sloppy and overly honest. The spat between Vienna and Morgan is one of the strongest moments in the show — raw, believable, and uncomfortable in that strained-friendship way. Shoe’s impulsive behaviour, Morgan’s need for control, and Vienna’s people-pleasing tendencies create a compelling emotional triangle. You can sense the thoughtful direction from Jack Winrow, who clearly understands these characters and the emotional dynamics between them. Despite the occasional missed cues or lines, and the acoustic challenges of the venue, the story remains compelling, relatable, and very well produced. Jack guides the ensemble with a clear sense of rhythm and intention, leaning into the awkwardness, humour, and tenderness that define this night-gone-wrong. At its core, Virginmobile  explores the labels we cling to, the insecurities we bury, and the truths we desperately avoid until they catch up with us. Morgan puts it best: “Maybe you shouldn’t value other people’s opinions so debilitatingly.” If only young adulthood came with a handbook.... Passion Productions takes a strong step in staging this new Australian work by emerging playwright Amiel Simpson. For those craving something original, intimate, and sharply relatable, Virginmobile  is well worth checking out! Tickets available here

Centenary Theatre Group – Directed by Gary Kliger Sir Arthur Conan Doyle caused quite the stir when he attempted to kill off the Sherlock Holmes character. This play, Holmes and Watson , dives into the murky aftermath of that decision. Holmes is “dead”… supposedly… and three men have appeared, all claiming to be the legendary detective. Dr John Watson is summoned to a remote asylum on Starkhaven Island to determine which of them, if any, is the real Holmes. From there, things spiral into a tangled psychological puzzle. This is absolutely a show that thrives on secrets, so I will tread very lightly on spoilers. Justin Ryan  nails the role of Watson, the proper British chap with a stiff upper lip and expressive stage presence. He moves through the space with confidence, grounding the increasingly bizarre circumstances around him. His back-and-forth intellectual dance with Andrew Wallace  as Dr Evans is one of the standout elements of the show. Andrew’s precise accent, articulate delivery, and slightly slippery demeanour make him a believable authority figure, but also someone I never fully trust. The trio of Holmes wannabes each offer something distinct. Brad Oliver  as Holmes #1 is sure of himself, instantly complicating my early assumptions. Steven Eggington  as Holmes #2 is a standout, strapped into a straitjacket yet commanding the room with frightening intensity, classy diction, and eyes flickering between brilliance and madness. Steve Tonks , as the catatonic Holmes #3, arguably has the toughest job, doing almost nothing while still maintaining presence. Luke Voyer  as Moriarty appears throughout dressed like a true villain, complete with maniacal laugh. He is a promising performer and shines in his moment with Holmes #3. Erik de Wit  is a loveable surprise as the mute orderly, goofy, expressive, and funny without speaking a single line. Michelle Malwkin  brings grounded realism to the Matron, while Martin Navin-Sanders  appears briefly with a great cockney turn as the Inspector during flashbacks. As the mystery deepens, information is held back from Watson, and from us, creating a satisfying stalemate that keeps the audience guessing. Nothing is as it seems and nobody is who they claim to be. The crowd reacts with those collective gasps you hope for in a classic whodunnit. The staging is straightforward, using a table, a few chairs, projected images and videos, and sharp, occasionally harsh sound cues that jolt the atmosphere. The final reveal is fun, clever, and lands well, although I am still not convinced about the music choice being 2001 A Space Odyssey? And to the real Holmes, you know who you are, when the reveal hits, do not cling to your coat. Step into that spotlight, you have earned it! At around an hour and a half with an interval, it is a neat little evening of intrigue and mind games, pulled together with steady, thoughtful direction from Gary Kliger , who guides the ensemble through the twists, secrets, and shifting alliances of a mystery like this with care.

A Night at the Musicals closed out their 2025 season with a spectacular final chapter: Disney: In Concert . With three shows at the beautiful Talbot Theatre in the Thomas Dixon Centre, this production celebrated the power of Disney music with world-class talent. I was already pumped to see my friends dazzle us, but as soon as the orchestra began the overture of When You Wish Upon a Star (Pinocchio)  / A Dream Is a Wish Your Heart Makes (Cinderella) , I knew we were in for a real treat! Twenty musicians filled the stage with a rich, nostalgic sound, conducted by the brilliant Michael Keen. Brisbane is unbelievably lucky to have this musical director. His conducting shaped the entire evening with finesse and that unmistakable Disney glow. And speaking of glow… the cast! Thirteen incredible vocalists stepped onto the stage in shimmering ballgowns and velvet jackets. Producer Sophora Cliff and Director Alex Watson assembled an A-team of singers who blew me away. The audience was mostly Disney adults and musical-theatre fans, with surprisingly few kids around. A grown-up crowd for a grown-up concert, and honestly, the arrangements chosen completely suited that demographic. It felt like the team had reached into my head and picked out all of my favourite songs. I can't even imagine how tough it was to choose the setlist! Be Our Guest (Beauty and the Beast)  burst to life with Liam J O’Byrne leading as Lumière, all charm and fiery French flair. If happiness had a sound, it was this. With a full vocal ensemble of familiar faces tying everything together, we were treated to a night of rich, full-bodied choral sound. The concert moved through heroes, villains, princesses, comedic classics, and underrated gems. A Postmodern-Jukebox-style Bare Necessities  brought jazzy fun. While Wild Uncharted Waters   (Little Mermaid 2023) by Jordan Koulos and the If Only  quartet delighted me to no end. Although, four songs from The Little Mermaid  still wasn’t enough for me. As Ariel says, I want more... Carly Bettinson soared through Waiting on a Wish  ( Snow White 2025) . This song is notoriously difficult — I’ve taught it before, and it is no walk in the park — yet she delivered it with clarity, control, and princess-perfect tone. The orchestral support here was phenomenal too! Chloe Rose Taylor unleashed delicious villainy in Mother Knows Best (Tangled) , blending her classical tone with some wicked belting. Natasha Veselinovic stunned in Home (Beauty and the Beast)  and You’ll Be In My Heart (Tarzan) . The latter was arranged in gorgeous four-part harmony for Natasha, Carly, Timothy Aaron Cooper and Cody Arthur. This stunner by Phil Collins slowed the pace of the show down and immediately produced soft sniffles around the auditorium. The opening notes of any Alan Menken song always give me chills, but Go the Distance from Hercules is on a whole other level. Sean Sinclair did this one justice and then some. The way it builds from a solo piano to a full orchestra splendour, topped with that epic key change and final belt, was definitely one of those goosebump moments of the whole show. Before the break, the boys took charge with I’ll Make a Man Out of You from Mulan . Timothy Aaron Cooper, Cody Arthur, Liam J O’Byrne, and Jordan Koulos delivered tight vocals, comical choreography, and just the right amount of heroic gusto. And I couldn’t resist singing along! A medley from The Hunchback of Notre Dame opened Act Two and shook the Talbot Theatre with its epic magnitude. The Bells of Notre Dame is only possible with an orchestra and choir of this size and calibre. Alex Watson’s direction shone here: bold, dramatic blocking that heightened the powerful storytelling. Timothy leading the solo Out There, perfectly balancing Quasimodo's sweet, gentle moments with passionate belts that felt like they came from the bottom of his soul. Chloe, Vivien Emsworth, and Carly teamed up for a princess medley of three songs. It sounded technically vocally amazing, but someone started rushing their song, which messed up the blend a bit. And honestly, this number was begging for some tiaras! Vivien delivered the pop version of Reflection (Mulan) . Her soulful tone was gorgeous, but she kept her eyes closed for the majority of it; something jazz singers often do, and really noticeable in a ballad that’s so introspective. Taylah Johns absolutely killed How Far I’ll Go (Moana) , a song that is a vocal minefield in the upper register. She navigated every leap and belt with confidence and clarity. No cracks. No stress. Just pure princess power! The first Frozen  moment arrived with a gender-bent Into the Unknown  sung by Liam. He nailed the high belts (even opting up!) and the flautist deserves a big shoutout for the crystalline tone during the iconic “Aah-aah-ahh!” moments. In my opinion, this is the hardest Frozen  song, and the orchestra and Liam delivered an exceptional arrangement. Jordan and Tymyka Adele Wines brought tender warmth to I See the Light  from Tangled . Their voices were gorgeous, but the lighting strangely stayed neutral. This number is made for golden glow and lantern-inspired hues. Still, I loved Jordan’s entrance from the side of the audience, singing like none of us existed except her... Tymyka also took centre stage for Let It Go and absolutely delivered, minus the famous Elsa quick change of course. Sophora Cliff in her stunning green gown tackled Part of Your World (The Little Mermaid) . She absolutely floored me. Effortless placement, clean opt-ups, and pure Disney-princess sound. I was green with jealousy, perfectly matching her dress. I only wish she had sung the reprise too! Cody Arthur completely slayed Poor Unfortunate Souls (The Little Mermaid) . He embodied Ursula with such vocal command and commitment that I genuinely want to see him play the role now! Chloe and Natasha tore into Badder  from Disenchanted . It’s from the lesser-known sequel to Enchanted , and the salsa-inspired groove of the two-villain dynamic made it a brilliant addition to the setlist. Alex’s blocking shone again here, giving the number bite and attitude. Taylah and Sean took on A Whole New World (Aladdin) , which sparkled vocally. I’d say it’s Disney’s best romantic duet. And although the magic carpet may not have been present, their blend delivered that same lift. Just a little reminder to the singers, the handheld mics can really hide your mouth, so make sure to smile with wist and wonder (Not that I’m one to give advice to performers of this calibre!) Jo-Anne Jackson and Cody united for a gorgeous pop-version of Beauty and the Beast . Their tricky harmonies and synchronised riffs were handled with elegance, their love radiated, and the warm golden lighting created a perfect little pocket of magic. Shadowland  from The Lion King , led by Jo-Anne, was otherworldly . Her voice poured through the theatre like molten gold with grit, power and emotional weight. My jaw was hanging open the whole time. And shoutout to the marimba player for adding that earthy Lion King texture. The company united for Can You Feel the Love Tonight  (Elton John pop version) featuring three ensemble singers who also served as swings, joined by the full company for the epic key change I was absolutely waiting for. A tender acoustic medley of Remember Me (Coco)  and When She Loved Me (Toy Story 2) , sung by Sophora and Liam with only piano and guitar, tugged at the heartstrings. I don’t know if they had eyes on a conductor screen, so if not... big props to everyone! The show wrapped with a joyful stage-version medley from Mary Poppins , sending the audience out on a cloud of nostalgia. This concert rekindled childhood wonder while celebrating the sophistication of live musical theatre. With outstanding orchestration, professional casting, thoughtful direction, and arrangements that felt both nostalgic and fresh, A Night at the Musicals proved exactly why these songs endure. The short season has concluded at the Talbot Theatre, but I sincerely hope Disney becomes an annual tradition. There are so many treasures still waiting in the vault! Photo credit: Megan Birdy Peacock

Presented by Ghostlight Theatre at Evilcorp Horror Maze and Bar, Fortitude Valley Directed by Yasmin Elahi Music Direction and Sound Design by William Pipe Photography by Alan Burchill Evilcorp Horror Maze and Bar has transformed into a hilariously horrifying playground for Night of the Living Dead! The Musical! Picture this: you're surrounded by spooky lighting, thick haze, and faint groans from zombies wandering the aisles. The space is like stepping into a '60s horror flick, complete with a fireplace that's puffing smoke, a cobwebbed chandelier overhead, and a short catwalk that gives the audience a close-up view of all the undead mayhem. Night of the Living Dead! The Musical! follows a mismatched group of characters who take refuge in a remote cabin after zombies begin rising from the grave. What could possibly go wrong? As tensions rise and monsters close in, the group must navigate increasingly ridiculous disasters. With each character more clueless than the last, their struggle to survive turns into a wild mix of horror, parody, and musical absurdity. Whether they make it through the night is anyone’s guess, but they will absolutely sing about it along the way! Director Yasmin Elahi clearly knows how to use the venue’s quirks to her advantage, making full use of every corner, level, and unsuspecting audience member’s personal space. Yasmin also juggles choreography, lighting, costumes, and set design, somehow making this horror maze in Fortitude Valley into a stage. She ensures that the dialogue crackles with deadpan wit, and that every actor nails the timing, even when sprinting off for lightning-fast costume swaps. And keep your ears peeled for cheeky musical theatre Easter eggs sprinkled throughout the the script! Every performer plays multiple roles and the ensemble chemistry makes it all sing... literally. From Aimee Segal’s scream-queen moment in “Coming to Get You Barbara”, Aimee showcases her stamina, belting and comedy, making her the ultimate horror heroine. Alex Graves ’ (perfect surname) portrayal of Ben oozes charisma and ego in his soulful, smooth solo “Under Control,” featuring moonwalks and breakdancing that leave Babs speechless. Meanwhile, Erin Lowry steals every scene in her various roles, starting as the free-spirited Judy, then the adorably unsettling child Betty-Lou, and even a chaotic TV reporter declaring “You’re F***ed!” (which, frankly, might be my new life motto). She also handles those impossible costume changes that defy all backstage physics. Molly Parker’s “The Juice” is a show-stopping solo, a salsa-inspired anthem to liquor that leaves the audience delighted. Her character Helen is brash, hilarious, and the life of the party (Seriously, is there a real drink in that flask?). Patrick 'Az' James has seriously time-traveled from the '60s with that accent, while their slapstick expressions seal the comedy. We also see Az as “Dan the Science Man,” spitting out tongue-twisting lyrics under laser beams. The delightfully disturbing duet “Doctor’s Orders” follows, with Erin and Aimee as German doctors dissecting Alex’s corpse. Aden Lowry’s country number “Ain’t My First Rodeo” as a sleazy sheriff, with backup dancers Aimee and Erin, was definitely my favourite song. His southern accent is perfection to deliver lines like “I love the smell of chicken and bigotry!” Then there is the utterly bonkers orgy scene, complete with strobe lights, gyrating chaos, and the cast somehow keeping straight faces through it all, even though I was in tears from laughter! The choreography throughout is playful, especially in the duet “Don’t Go in the Basement,” where Alex and Aden nail the dance-off. In my opinion, the best zombies, Az and Aden, look as if they've just walked out of the ' Thriller ' music video. The title number, “Night of the Living Dead,” is the shining moment of the show, performed entirely in the dark with torches illuminating faces and harmonies polished to perfection. The live band deserves endless applause. Adam Haks and Jasmine Buckley on keys, Nathan Cho on guitar, Corey Truss and Ben Marshall alternating on bass, and Zi Hui Chen on drums keep the energy driving all night. The sound mix is impressively clean for such a small, unconventional space. We even demanded an encore, and bless them, they delivered! For a 90-minute fright fest that is equal parts satire, musical theatre tribute, and pure spooky fun, Night of the Living Dead! The Musical! is the perfect choice. This tiny theatre delivers a monstrously good time. There is something delightfully surreal about sipping a cocktail while zombies stumble past your knees. Shows like this are what make Brisbane’s fringe theatre scene so exciting. It is proof that you do not need a massive stage to make a big impact, just guts, wit, and a few fake body parts. Tickets are limited, so grab them fast. This is one graveyard party you do not want to miss!

Title:   Bonnie & Clyde Presented By:  Phoenix Ensemble Genre:  Musical / Drama / Crime Synopsis: Set in Depression-era America, Bonnie & Clyde  tells the electrifying story of two small-town dreamers turned infamous outlaws. When Bonnie Parker meets Clyde Barrow, sparks fly, and together they chase fame, fortune, and freedom at any cost. With a sizzling score blending rockabilly, blues, and gospel, this high-energy musical dives into the passion, danger, and legend behind the most notorious couple in American history. Audition Date: Monday 15 December 2025 Audition Time: 6:00pm – 7:00pm Audition Location and Address: Phoenix Ensemble (The Pavilion Theatre, “The Tin Shed”)Beenleigh Showgrounds, James Street, Beenleigh QLD Audition Requirements: Prepare the assigned sections of “Picture Show” – sing along to the provided backing track at the audition. Rehearsal tracks and sheet music are available online. Young Bonnie will also perform a short acting scene with an adult reader (Bonnie’s mother). No memorisation required. Both roles require a Southern American accent — natural and authentic. Please wear comfortable clothes suitable for basic movement. Important:  Parents/guardians should note that while these characters do not appear in violent scenes, the full production includes mature content (guns, fake blood, staged intimacy, and deaths). The creative team—comprising qualified teachers—will ensure these scenes are handled sensitively, and all adult cast hold Blue Cards. Audition Registration: Book your audition at www.phoenixensemble.com.au/audition If you experience issues, email auditions@phoenixensemble.com.au  for assistance. Audition Pack: Download Full Audition Pack (PDF) Audition Materials: Access rehearsal tracks, backing music, and script excerpts here Performance Dates: Friday 20 February – Saturday 6 March 2026 Performance Times: Friday evenings, Saturday matinees and evenings (no Sunday performances) Performance Location: Phoenix Ensemble, Pavilion Theatre (“The Tin Shed”), Beenleigh Showgrounds Rehearsal Dates: Commencing Wednesday 17 December 2025 (immediately after auditions) Rehearsal Times: • Mondays & Wednesdays – 7:00pm to 10:00pm (children until 9:00pm) and Sundays – 1:00pm to 6:00pm Parents will receive schedules at least two weeks in advance. Additional technical rehearsals may extend later in the evenings closer to opening. Warnings:  Mature themes, violence, guns, staged intimacy, and blood effects Performer Age:  10–15 years Creative Team: Director – Kym Brown Musical Director – Sally Faint Choreographer – Julianne Clinch Production Website: phoenixensemble.com.au/audition Available Roles / Character Breakdown: Young Clyde - Male-presenting, playing age 10–12. Bold, restless, and curious — already dreaming of adventure and rebellion. Must sing solo and deliver light dialogue with a natural Southern American accent. Vocal Range: Bb3–D5. Young Bonnie - Female-presenting, playing age 10–15. Bright, imaginative, and full of big dreams of fame. Must sing solo and act in a short scene portraying Bonnie at ages 10 and 15. Vocal Range: C#4–C5. (Both roles appear in Act 1 and briefly in Act 2. May also participate in select ensemble scenes.)

Title:   Steel Magnolias Presented By:  Noosa Arts Theatre Genre:  Drama / Comedy / Ensemble Play Synopsis: Set in a small Louisiana town, Steel Magnolias  tells the story of six remarkable women whose lives intersect in Truvy’s beauty salon. Between haircuts, weddings, and heartbreak, their bond becomes a testament to love, resilience, and the strength found in friendship. Filled with warmth, wit, and emotional honesty, this beloved play captures the humour and heartache of real life and celebrates the quiet heroism of everyday women. Audition Dates: Monday 24 November 2025 and Wednesday 26 November 2025 Audition Time: 6:00pm – 8:00pm Audition Location and Address: Noosa Arts Theatre, 163 Weyba Road, Noosaville Audition Requirements: Prepare one monologue for the role(s) you wish to audition for (see audition material list). Be ready to read selected duologues with other actors to explore chemistry and ensemble work. Please perform with a Southern (Louisiana) accent — authentic and natural, not exaggerated. This is an ensemble piece: connection, truth, and subtlety are key. Audition Registration: Contact Production Manager Margaret Courtney to book an audition time. 📞 0407 450 621 | 📧 theperegianpair@hotmail.com Margaret will provide an audition form via email, or you can download it directly from the theatre’s website. Production Website: Noosa Arts Theatre Performance Dates: 19 – 29 March 2026 Performance Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville Rehearsal Dates: Commencing early January 2026 Rehearsal Times:  Tuesday evenings (time TBA) and Saturdays 10:00am–4:00pm Warnings:  Mature themes, mild adult language, and emotional content Performer Age:  Adult performers (18+ recommended) Other Information: • All cast members must be financial members of Noosa Arts Theatre (insurance requirement). Membership must be paid prior to commencing rehearsals. By accepting a role, you agree to adhere to the Actor’s Code of Conduct. Please list all unavailable dates on your audition form. Available Roles / Character Breakdown: M’Lynn Eatenton (40–50) Shelby’s devoted mother. Intelligent, strong, protective, and deeply loving. Emotionally rich role with a powerful final scene. Shelby Eatenton-Latcherie (21–29) The play’s radiant heart. Beautiful, joyful, and determined, yet fragile. Her courageous choices drive the story. Truvy Jones (40–55) Owner of the beauty salon. Warm, talkative, and endlessly caring. Loves gossip and glamour. Clairee Belcher (60s–70s) Stylish, sharp-witted widow of the former mayor. Her dry humour and grace make her unforgettable. Ouiser Boudreaux (60–70) Gruff, eccentric, and hilarious. Tough exterior but a deeply loyal, soft-hearted friend. Natural comic timing essential. Annelle Dupuy-Desoto (19–29) The shy newcomer to town who blossoms through faith and friendship. Sweet, sincere, and full of growth.

Title:  Sleeping Beauty (Pantomime) Presented By:  Little Seed Theatre Company in collaboration with Noosa Arts Theatre Genre:  Family Pantomime / Musical Comedy Synopsis: This hilarious, heart-warming pantomime brings the classic fairy tale to life with songs, dancing, and plenty of laughter! When the wicked Carabosse curses baby Princess Aurora, it’s up to the good Lilac Fairy, some lovable villagers, and a brave prince to save her. Featuring colourful characters, cheeky comedy, and big musical numbers, Sleeping Beauty  promises a magical experience for audiences of all ages. Audition Times: Saturday 15 November 2025 (Acting/Singing) Acting/Singing: 1:30pm–5:00pm (individual time slots) Monday 17 November 2025 (Dance Audition & Callbacks) Dance Audition: 6:15–6:45pm (all auditionees attend) Callbacks (if required): 6:45–7:45pm Audition Location and Address: Acting/Singing: Noosa Environmental Centre, 9 Wallace Drive, Noosaville Dance/Callbacks: Noosa Leisure Centre Dance Studio, 9 Wallace Drive, Noosaville Audition Self-Tape Due (if applicable): If you are unable to attend in person, email jo@little-seed.com.au  to organise an alternative arrangement. Audition Requirements: Prepare one of the short scripted scenes and a verse/chorus of a pop song (with a backing track). Bring your own device and small speaker, or email your track to francine@little-seed.com.au  before the audition. Acting and singing auditions are booked individually; dance auditions are a group session. Bring your printed, completed audition form. All auditionees will be considered for all suitable roles. Audition Registration: Applications close 5pm Friday 14 November 2025. Book your individual 5-minute audition slot via: Calendly – Sleeping Beauty Auditions Audition Pack: Download Here Performance Dates: Saturday 10 January – Sunday 18 January 2026 Performance Location: Noosa Arts Theatre Rehearsal Dates: Saturday 22 November 2025 – Thursday 8 January 2026 Rehearsal Times: Mix of weekday evenings, weekends, and daytime rehearsals (see full schedule in audition pack) Performer Age:  9–18 years Creative Team: Director – Johanna Wallace, Musical Director & Choreographer – Francine Cain Production Website: www.little-seed.com.au/auditions Partner Venue: www.noosaartstheatre.org.au/auditions Other Information: Open to all – you do not need to be a Little Seed student. No participation fee. Arrive 15 minutes before your slot and bring all printed materials. Performers must consent to promotional photography and video. Available Roles: Prince Florimund  – Charming and heroic; the brave rescuer of Sleeping Beauty. (15–18) Princess Aurora  – Sweet, kind-hearted heroine; graceful and optimistic. (15–18) King Florestan  – Wise ruler and loving father. (12–18) Queen Scatty  – Energetic, dramatic, and not-so-wise; full of personality. (12–18) Lilac Fairy  – The good fairy; compassionate and powerful. (12–18) Lilac’s Apprentices (2)  – Energetic fairies-in-training; playful and loyal. (Any age) Carabosse  – The wicked witch; fierce, funny, and dramatic. (12–18, any gender) Odz  – The village idiot’s brother; clumsy and comedic. (15–18) Enz  – Odz’s partner-in-chaos; silly and endearing. (15–18) Dame Penelope Stamp  – A witty, larger-than-life widow. (15–18) Ladies & Gentlemen of the Chorus  – Courtiers, fairies, villagers; ensemble singing and dancing. (9–18)

Presented by: La Boite Theatre in association with Griffin Theatre Company Written by: Dylan Van Den Berg Co-directed by: Declan Greene and Amy Sole Cast: Joseph Althouse and Danny Howard Warnings: Recommended for audiences aged 15+. Contains loud noise, blinding lights, simulated sex scenes, weapons, and descriptions or representations of colonial violence. Photography : Prudence Upton “You could pass for a white fella… except for your voice and your face and your hair and your skin.” Beneath the branches of a lemon tree, two teenage boys meet. It is more than 200 years ago, on Aboriginal Country, and the world they know is on the brink of being declared something new. In another life, they might simply have been two boys falling in love under the moonlight. But history, as we know, had other plans. Written by Palawa playwright Dylan Van Den Berg , Whitefella Yella Tree  is an unflinching two-hander co-directed by Declan Greene  and Amy Sole . Together they craft a story that feels both ancient and immediate; a tale of young love, Country, and survival that glows with humour, pain, and profound beauty. The set, designed by Mason Browne , is minimal and beautifully evocative, with a wooden stage in the round and above it all, the hanging branches of the lemon tree looms like its own character: a shelter, witness, and silent companion, symbolising everything that grows, ripens, and falls. It is here that Ty  (Joseph Althouse, Pertame and Tiwi ) and Neddy  (Danny Howard, Barrd, Yamatji, Noongar, Bunuba, and Ngadju ) are tasked with exchanging messages between their communities: River Mob and Mountain Mob. What begins as duty slowly becomes friendship, then something deeper and far more dangerous in the eyes of the world to come. Althouse and Howard play Ty and Neddy with truth and youthful spirit. They first appear as 15-year-olds, full of curiosity, teasing, and playful energy. It’s immediately believable: the cheeky banter, the awkward bravado, the shy laughter, the flashes of vulnerability. Neddy is the brawny, impulsive one: tough on the outside, vulnerable on the inside. He is quick to laugh, quick to anger, and desperate to protect. Ty is thoughtful, gentle, and deeply connected to the stories of his people. Together, their delivery of the play’s humour gives the story levity. Both their performances feel timeless, like two halves of a whole. Danny’s storytelling is disjointed and brash in a way that feels entirely true to his character Neddy, while Joseph draws us in with quiet wisdom and intimacy of Ty that holds the audience in stillness. Their chemistry is like witnessing something private and precious; a connection free of shame or judgement, simply two boys discovering themselves and each other. It’s rare and beautiful to see queer love presented with such purity, unburdened by the external or internal lens of guilt or fear. At first... But what happens when the messy, awkward parts of first love collide with the violence of invasion? Their tender love unfolds in a world that feels as if it might hold them safe, but as the whitefellas colony creeps closer, it threatens not just their Country but their right to love. As moons pass, their meetings beneath the lemon tree chart the changing seasons of both their relationship and their world. What begins with curiosity about the whitefellas (e.g. their sheep described as “clouds with legs”) soon turns to fear as invasion looms closer, bring with them their guns, dogs, and disease. Steve Toulmin’s  sound design gives chilling life to the unseen colonists. The crackle of fire, the barking of dogs, and the escalating roar of destruction become an assault on my hearing, a necessary one. It is loud, violent, and overwhelming. The horror is never shown on stage, but it is felt deeply through these elements and had my heart pounding with stress. Kelsey Lee  and Katie Sfetkidis’  lighting design is extraordinary, using subtle shifts of colour and brightness to chart time passing. I found myself holding my breath through the blackouts, where sound takes over and lemons fall from above like tears from the sky, punctuating each silence with a visceral jolt! Under the direction of Greene  and Sole , the piece feels intimate and intuitive. The staging often asks us to fill in the blanks. A moment of the boys lying side by side is simply shown by them standing together against the set. The production trusts its audience to imagine, to listen, and to feel. Because this is not just theatre about history; it is theatre that embodies history, inviting us to feel its weight through movement, sound, and storytelling. As the years pass, both boys grow older. Their voices drop. Their innocence fades. The world around them hardens. Neddy, desperate to find his sister who was taken, begins to engage with the colonists, taking on their clothes, their drink, their faith, and their shame. Ty remains with his Mob, guided by his Elders and struggling to hold their stories in a mind too full of grief as their numbers dwindle. The gulf between them becomes immense. Neddy’s new beliefs tell him that a man cannot love another man. His shame and confusion collide with the memory of who he was before. When Neddy whispers, “We’ve got to stay safe,” and Ty shouts back, “Where’s safe?!” those words hang heavy in the air. It’s not just their question; it’s the question for every generation of First Nations since that were torn apart by forces beyond their control. Van Den Berg’s writing captures the poetry of Country and the brutality of colonisation without ever losing sight of humanity. The play reminds us that queer love has always existed on this Land and that it continues to thrive in defiance of history’s attempts to erase it. The arrival of the First Fleet marked the end of the isolation of Aboriginal and Torres Strait Islander peoples and began a period of dispossession, violence, and disease that decimated communities. And yet, this play is not a story about loss alone, but about what could not be destroyed: love, laughter, connection, and resilience. First staged in 2022 on a small Sydney stage, I’m so grateful this work has found its way to Brisbane. Whitefella Yella Tree  is a piece of immense heart and importance. It lingers like the taste of lemon on your tongue, sharp, bright, and unforgettable. I left La Boite Theatre tear-streaked but full of gratitude, for storytellers like Dylan Van Den Berg, for artists like Joseph Althouse and Danny Howard, and for the privilege of witnessing a love story so beautifully told on Country. It’s history, heartbreak, and hope intertwined, a reminder that even in the darkest chapters, love still endures.

If you enjoy Sondheim, go see this show. If you don’t enjoy Sondheim, still go see this show. Because this Into the Woods  isn’t just another revival of the Tony Award-winning musical; it’s the perfect tale to launch Ad Astra’s newly refurbished Galaxy into orbit. Once the home of Brisbane Arts Theatre, this intimate, elegant space now gleams with new life. Even on the night of the NRL Grand Final (which stole every other crowd in Brisbane), this audience turned up loud and proud! Our laughter and cheers rippled through the room, egging the cast on to play even bigger, sillier, bolder! You could feel that delicious feedback loop that only live theatre can create; the unpredictable give-and-take between performer and spectator that makes every show a one-of-a-kind experience. The cast absolutely thrived on it; telling me afterward that they had amped up the emotion and improv purely due to our reactions. The Story Into the Woods  is a masterwork of moral chaos from Stephen Sondheim (music and lyrics) and James Lapine (book). It brings together a mismatched bunch of familiar fairy-tale favourites — Cinderella, Little Red Riding Hood and the Wolf, Jack and the Giant, Rapunzel and the Witch, and a cursed Baker and his Wife — all desperate to have their wishes granted. Of course, as Sondheim so deliciously reminds us, getting your wish doesn’t necessarily mean getting what you want.   The Cast Where to even begin? This is one of those ensembles where every character feels distinct, well-crafted, and memorable. Stephen Hirst  and Heidi Enchelmaier , real-life married couple and on-stage Baker and Wife, are absolute couple goals. Their chemistry is naturally effortless (obviously), their banter sharp, and their duet It Takes Two  radiates warmth. Stephen’s portrayal of the hapless, well-meaning Baker hits just the right mix of heart, while Heidi as Baker’s Wife is all wit, warmth, and steel pragmatism. Her Moments in the Woods  is tender, funny, and vocally divine. Stephen also delivers an emotional gut punch in the lesser-known No More  (get close seats to see his tears shining!) Carla Beard  is an absolute spark plug of a Red Riding Hood (septum piercing and all). I adore this interpretation: tomboy edge, tough, feisty, and far more streetwise than she looks. I Know Things Now  is beautifully handled through her journey from wide-eyed innocence to sharp-tongued survivor. Jordan Malone  is a dream as Cinderella: poised, expressive, and vocally pristine. On the Steps of the Palace  (a rhythmic nightmare I fear) lands with crystalline diction. Later, she anchors the ensemble emotionally in No One Is Alone  in a touching, tear-prickling exchange with Carla. Alex Watson  brings bright-eyed energy (in a backwards baseball cap!) as Jack. Giants in the Sky is one of the freshest takes I’ve seen: vocally flawless, emotionally grounded, and framed by a cinematic swirl of fog below. Josh Whitten doubles as the Wolf and Steward. As the Wolf (British, charming, dangerously magnetic “innit?”), he’s so persuasive I might’ve followed him off the path myself. Hello, Little Girl  is gorgeously lit: soft hues as he tempts Red Riding Hood, snapping to ominous blood-red as his thoughts turn predatory. Later, as the Steward, he’s a riotous foil to Elliot Baker’s Prince. Speaking of princes: Elliot Baker  (Cinderella’s Prince) and Jaya Fisher-Smith  (Rapunzel’s Prince) are dynamite. Agony  prompts many girlish giggles and snorts from the audience (mostly from me). I’m personally obsessed with both their voices, plus the excellent comedic acting, superb blocking, and slapstick humour are perfection. The reprise is just as good, as they muse on being unsatisfied with their “happy ever afters.” Elliot is a riot every time he appears: clueless, extra, and gloriously self-obsessed. While Jaya is equally brilliant: goofy, flamboyant, and utterly over the top. With the true voice of a prince, Elliot's Any Moment  is, indeed, a truly great moment. Natasha Veselinovic brings power and depth to the Witch. Vocally, she’s untouchable. The Last Midnight shakes the rafters and her acting choices are strong, but I did crave more chaos from her in Act 1. This Witch could afford to feel a little more unhinged and frightening. And the button blackout at the end of The Last Midnight  didn't land. It's a small tech fix that will provide that thrilling full-stop the song deserves. Aysa Garcia Wong’s  Rapunzel is luminous, her voice cutting through the chaos like silk. She and Natasha play their fraught mother–daughter dynamic convincingly, despite the literal mask barrier. James Shaw , doubling as the Narrator and Mysterious Man, is suave, grounded, and quietly ethereal. He bridges the story and the audience with ease; always observing just outside the unfolding action. And his duet with Stephen is genuinely moving (helped, amusingly, by the fact that the two actually look related). Aurélie Roque  gives a riotous turn as Jack’s Mother in a crazy bold accent (side note: everyone has different accents, so don’t be surprised!) and I only wish she had more stage time. Chloe Rose Taylor  (multi-tasking as Stepmother, Cinderella’s Mother, and the iconic Grandma), Akansha Hungenahally  (Florinda), and Jaya Fisher-Smith  (Lucinda) triple the chaos as the giggling steps trio. Paige   McKay as Milky White, the mute (slightly unsettling) cow puppet, is oddly adorable and wins hearts without saying a word. Every performer in this cast has carved out a unique version of their character. Nobody fades into the background. You can tell there’s been real thought put into each portrayal, and it pays off in spades. The Creative Team Under the direction of Tim Hill , this production keeps the humour sharp, the pacing tight, and the moral lessons deeply human. Into the Woods  is, after all, a musical about consequences, and this cast handles them beautifully. Hill’s direction and set design work hand-in-hand, making great use of the aisles and balcony. The cast frequently moves among the audience, breaking the fourth wall just enough to make us feel complicit in these wishes gone wrong. The set itself is a visual treat too: a living, breathing for est of tangled vines, trees, and timber slats across the rear that allows Andrew "Panda' Haden's  lightin g to spill through in shifting colours. That runway of lights as Cinderella flees the ball is a particularly pretty touch. The band, led by Ben Murray , sits upstage behind the foliage. Tackling Sondheim’s famously complex score is no small feat, and Ben’s musicians deserve every ovation they get. Your Fault  (my personal favourite) is razor-sharp and everything I dreamed it to be. Tess Hill’s  choreography adds texture rather than spectacle, which is exactly right for this show: organic, character-driven, and full of wit. Costumes by Tess Hill  and Jem Hill  lean modern-fantasy: Red’s playsuit, Jack’s streetwear, and the Stepsisters’ hoop-frame silhouettes are fun. My only real misstep is the Witch’s design. In Act I, she’s covered in a heavy brown cape and an eye-mask that hides all her facial nuance during Stay With Me (one of the most emotional songs of the act). I truly wish we could see her face clearer in that moment. Her second look in Act II, an emerald gown, is exquisite in colour, but a dramatic cape would sharpen her unsurpassable presence. Still, these designs reflect Ad Astra’s adventurous spirit, something I admire deeply. This isn’t a cookie-cutter production; it’s layered, interpretive, and full of personality.   The Experience Act I is a laugh-fest thanks largely to comedic powerhouses Heidi, Stephen, Jaya, Josh, Carla, and Elliot, and the way they play off each other. Act II deepens into something darker as the fairy tale frays and the wishes unravel into themes that are painfully human, There are moral dilemmas, heartbreak, regret, adultery, violence, fear, death — and somehow, hope. As one lyric warns, “Children may not obey, but children will listen.” (Or my personal favourite: “Children are a blessing… if you know where they are.”) By the time the company joins in No One Is Alone , the emotional impact lands hard. You can feel the show’s moral core: wishes have repercussions, good and evil are rarely clear-cut, and “no one stays untainted by the world.” At roughly three hours, Into the Woods  is a long tale but every minute is worth it. A few practical notes: the theatre can get very chilly, and the accessibility features are still in progress. For visual access to the balcony scenes, and for catching the finer details of faces, tears, and nuance, I recommend sitting within the first four rows. And for the love of all things theatrical: remember do not leave at interval! Act I only pretends  to be a happy ending. That’s the point. The best (and worst) comes after. Ad Astra’s Into the Woods  is a triumph — wonderfully cast, tightly directed, musically rich, and full of heart. It’s a fitting christening for the Galaxy Theatre: an extraordinary celebration of storytelling and the magic of the stage. Don’t wish — go! Tickets here Photography by: B’rit Mobbs, By Brit Crea tive

Title:   Heathers: The Musical (Teen Edition) Presented By:  BG Performing Arts Genre:  Dark Comedy / Musical Theatre Synopsis: Heathers: The Musical (Teen Edition)  is a darkly funny, high-energy rock musical about teenage power, popularity, and the dangers of fitting in. Veronica Sawyer is a smart, misunderstood teen who finds herself pulled into the world of the beautiful but cruel Heathers—the most popular girls at Westerberg High. When she falls for the mysterious new kid J.D., her life spirals into chaos and revenge. This teen-adapted version captures the bold spirit of the cult classic while addressing themes of bullying, self-worth, and peer pressure with sensitivity and humour. Audition Date:  Sunday 14 December 2025 Audition Time:  12:30pm – 5:30pm Audition Location and Address:  BG Performing Arts Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable):  Online video submissions available — email info@bgperformingarts.com Audition Requirements: Auditions are required for those seeking lead, featured, or soloist roles. Ensemble performers are encouraged to attend auditions. All music and choreography will be taught on the day. Familiarise yourself with the singing and acting materials in the Dropbox link Audition Registration: Complete the Audition Registration Form  before attending. Registrants must pay the workshop fee prior to audition day. Audition Pack: Download Audition Pack via Dropbox Performance Dates:  Saturday 24 January 2026 Performance Times:  2:30pm & 7:30pm Performance Location:  Everton Park SHS Performing Arts Centre, 668 Stafford Road, Everton Park QLD 4053 Rehearsal Dates:  Monday 19 – Friday 23 January 2026 Rehearsal Times: Mon–Thu: 9:00am–5:00pm (Bowen Hills Studio) Fri: 9:00am–8:30pm (Everton Park SHS) Warnings:  Mature content – references to bullying, mental health struggles, mild violence, and mild sexual themes. Parental guidance recommended. Performer Age:  13+ Creative Team: Director:  Sam Caruana Musical Director:  Kate Baxter Choreographer:  Bella Gordon Production Website:   bgperformingarts.com/audition-information-heathers-2025 Contact: info@bgperformingarts.com Other Information: Cost: $400 (covers rights, royalties, staff, set, props, and venue hire). Additional costume hire fee may apply. All participants must be available for the full rehearsal period. Available Roles/Character Breakdown: Veronica Sawyer  – Smart, witty teen navigating friendship, love, and morality. J.D. (Jason Dean)  – Charming, damaged new kid with a dark streak. Heather Chandler  – The ruthless, magnetic leader of the Heathers. Heather McNamara  – Sweet but naive follower who hides insecurity. Heather Duke  – Ambitious and resentful, waiting for her turn to rule. Martha Dunnstock  – Kind, optimistic, bullied student with a huge heart. Ram Sweeney & Kurt Kelly  – Popular football players, arrogant and comedic. Ms Fleming  – Overzealous teacher seeking attention and purpose. Parents & Teachers Ensemble  – Adults navigating chaos with misguided wisdom. Students Ensemble  – High schoolers, partygoers, and background characters.