Les Femmes Venue: The West End Electric, Brisbane Cast: Emma Mylott, Jacinta Gulisano, and Kirrah Amosa Date attended: 27 September 2026 Photography: Leslie Liu Photography (select images) Somewhere between Prince, Hall & Oates, Queen, Usher, the Bee Gees, AC/DC, and John Farnham, I began to suspect that the ladies of Les Femmes had somehow infiltrated my music library. By the time Disco Inferno (my all-time fave disco jam) turned up, I was sure of it! Les Femmes flips the script by giving songs made famous by male artists to the dynamic trio of Emma Mylott, Jacinta Gulisano, and Kirrah Amosa. These powerhouse singers have soul in their voices, riffs for days, and zero plans to let the audience sit still through two acts. The songs weave through tales about the men in our lives: lovers, dads, best buddies, players, charmers, and those mythical “good guys”. It’s a mix of cabaret, concert, game night, and a playlist so well-curated it could win a Grammy for Best Compilation. The pace is a huge part of the fun. Les Femmes rarely lets one song settle for long, instead chopping favourites into a live megamix where one groove slips into another before you’ve even finished getting excited about the first. It’s a musical buffet where Frankie Valli rubs shoulders with Al Green, the Bee Gees, Cy Grant, and a whole bunch more, while the evening kicks off with the epic SMASH version of That’s Life. I recognised it immediately, which made me far too pleased with myself. I love a musical lucky dip! All three women are stars, and nobody gets permanently assigned to “backup singer while the diva has her spotlight moment”. Leads are constantly passed around. One voice takes the melody, the other two slide underneath it, and moments later they’ve switched places again. The harmonies are immaculate, but the trio never blends into one indistinguishable sound. Each singer brings her own colour, and the arrangements are clever enough to showcase that. For example, Emma takes charge of the a cappella ending of Queen’s Somebody to Love, which blew my mind. Across the night, individual lines keep opening into melismas, riffs, and bits of vocal showing-off. I support the showing-off. If you can sing like this, please do! The dad section may be the most accurate musical representation of opening someone’s glovebox and discovering every CD their father has owned since approximately 1978. My Girl, American Pie, Your Song, and Piano Man, of course. You cannot build a dad playlist and escape Billy Joel. The women perch on stools while the songs bleed into each other, turning it into another jackpot of recognition without slowing the night down for a string of earnest ballads. There are, however, plenty of men here who are very much not anybody’s father. The sexier R&B material wakes up a whole different part of my memory. Pony, Versace on the Floor, Sexual Healing, I’ll Make Love to You, and Usher’s Yeah! take me directly back to my clubbing days. The old-school soul and funk material suits these singers’ voices ridiculously well too. James Brown, Marvin Gaye, The Temptations, and Stevie Wonder tumble through the mix, providing plenty of rhythmic bite and several opportunities for the trio to riff well beyond what is strictly necessary. Again: I support this behaviour. And praise be, DISCO ARRIVES. September appears among playlist dedicated to the “good guys” out there. The Bee Gees receive plenty of attention, and eventually Disco Inferno enters the building. At this point, Les Femmes may as well have been built specifically to shut me up by giving me everything I want. Disco, funk, old-school R&B, retro pop, and a run through Australian classics including INXS, AC/DC, John Farnham, Daryl Braithwaite, and good old Eagle Rock. Some of these songs I have never heard performed live outside of an occasional tribute act or my ex’s stupid cover band. The music could carry the evening by itself, but Mylott, Gulisano, and Amosa don’t spend two hours planted behind microphones looking reverently into the middle distance. I love the amount of choreography woven through the songs: synchronised movement, mic-stand work, and strutting to keep the performance visually active without turning every medley into a dance routine. They also use The West End Electric venue beautifully. The venue’s smaller circular platform brings the singers right into the audience, which suits a cabaret this playful. Visually, the giant glowing circles and retro bulbs already make the room look halfway between a disco special and an old television variety show. The masculine chic costumes continue the joke: think dress shirts, suit pants bedazzled with sequins, strappy heels, and a halter top made from silk neckties. With all that tailoring, spunk, and their trio power, I’m getting some serious Josie and the Pussycats vibes. The cabaret portions stop the barrage of songs from turning into one very long playlist. Men in the audience are interviewed and sorted into three categories: players, charmers, or good guys. The crowd gets to judge their answers, and stickers are handed out accordingly (which is now their permanent legal classification). Celebrity Tinder has everyone yelling opinions about famous men, while the guy-best-friend discussion produces MY beautifully blunt conclusion that yes, women can have a male best friend, provided he’s gay... Because the trio keeps moving into the theatre rather than staying safely onstage, the audience interaction has some genuine unpredictability to it. Any man within microphone range suddenly looks slightly less comfortable than he did five minutes earlier. Excellent. Abundance is basically the middle name of Les Femmes. The entire night zooms through decades like a musical rollercoaster. I walked away with three new girl crushes, a playlist of songs forcibly reinstalled in my brain, and an overwhelming desire to hit the clubs once more. If Charlie’s Angels ever want to start a cover band, I’ve already found their audition tape! I’d absolutely recommend this one to anyone craving a night of favourites first made famous by men, then reworked, revved up, and sung within an inch of their lives by three seriously impressive divas. You will not be disappointed.

Werewolf Produced by: Binge Culture Presented by: Brisbane Festival in association with Brisbane Powerhouse Venue: Underground Theatre, Brisbane Powerhouse Date attended: 24 September 2026 Devisers/Performers: Joel Baxendale, Stella Reid, Hannah Kelly Dramaturg: Ralph Upton Sound Designer: Oliver Devlin Devisers: Karin McCracken and Freya Daly Sadgrove Set and Lighting Designer: Lucas Neal Technical Stage Manager/Operator: Marshall Rankin Voice Artist: Moana Ete Photography: Mouce Young, Lewis Ferris, and Vanessa Rushton “Attention: Multiple new occurrences confirmed. Healthy citizens report to safehouses by sunset.” A lycanthropy outbreak has begun. Brisbane is in lockdown! Binge Culture’s Werewolf drops its audience into a seven-day containment scenario overseen by three Kiwi wardens in charge of keeping everyone in the theatre alive. I'm not sure how to describe this one. It's kind of a ‘had to be there’ moment. Inspired by the social deduction game also known as Mafia, the show borrows its cycle of day, night, suspicion, misinformation, and hoping nobody eats you after lights-out. It feels like an escape room collided with a murder mystery and became immersive theatre. The clever bit is that participation sounds much scarier than it is. Nobody is expected to suddenly invent a monologue about their childhood trauma or perform interpretive dance under pressure. Audience members receive Public Information instruction cards, jobs, props, and occasional things to say or do. Some participation is planted directly into the room through those instructions, while anything extra we throw at the performers is our own fault. This production needs people willing to play, and the crowd at my performance understood the assignment. Suspicion spreads, information gets mangled, people volunteer opinions nobody asked for, and the safest course of action appears to be listening to the loudest person in the room. You know, civilisation. That structure also creates an entertaining uncertainty around your fellow audience members. Is that person behaving strangely because their card told them to? Are they improvising? Are they a werewolf? Am I overthinking this because I have been issued a tinfoil hat? Joel Baxendale, Stella Reid, and Hannah Kelly have the unenviable task of steering all this without making the steering visible. They hold onto the planned shape of the show while dealing with whatever nonsense comes flying back from the room, meeting ad-libs with quick wit without letting the containment scenario drop away. Hannah Kelly is the funniest of the trio in my performance, finding dry reactions to the absurdity around her and knowing exactly how long to sit in a joke before moving on. Stella Reid becomes the default leader, the most reassuring presence of the three. Joel Baxendale is the suspicious one. He is irritating in precisely the way a man trapped in a bunker during a werewolf outbreak should be irritating: just questionable enough that you keep watching him. Together, they fall into a rhythm of bickering, damage control, and increasingly dubious crisis management. These are not sleek government operatives in tactical gear. They have fleece, flannelette, trackies, beanies, crocs, radios, and warden armbands, as though somebody has grabbed three people from Bunnings on a Saturday morning and informed them they are now responsible for national security. Lucas Neal’s set has the same improvised quality. The safehouse is built from reflective black and silver sheeting, plastic screening, hazard tape, folding chairs, storage crates, work lights, and an old radio. It’s visually sparse, yet the technical world around it is doing a huge amount of work. A live camera feed keeps watch outside the safehouse. Radio broadcasts filter in. Lighting shifts alter how safe the room feels, and when night arrives, the production commits properly to darkness. These are full blackouts, including the emergency exit signs, and suddenly every tiny sound has teeth. Oliver Devlin’s sound design has enormous fun with that loss of sight. Howls circle somewhere outside. People scream around you. Doors creak. Things go bump where you cannot see them. At points, it sounds like the opening of Michael Jackson’s Thriller, which is precisely where my brain goes when I'm sitting in pitch blackness waiting to be mauled by a fictional wolf. The jump scares are ridiculous fun. They also demonstrate how little Werewolf needs to physically show us. Once the lights disappear, the safehouse expands inside your imagination. A sound from behind you becomes far more alarming when you have no idea who, or what, is responsible for it. Devlin, Neal, and operator Marshall Rankin manipulate that uncertainty with careful timing, bouncing the show between laughter and genuine tension without losing its homemade emergency-bunker aesthetic. The production began development during New Zealand’s isolation in 2020, which makes its interest in containment, unreliable information, communal behaviour, and deciding whom to trust easy to recognise. Thankfully, Werewolf doesn’t turn into a lecture about misinformation. The ideas sit inside the game. We experience how quickly a room develops theories, backs the wrong person, follows questionable authority, or repeats something until it starts sounding credible. And because the audience contributes so much, no two performances can be identical. That is also the show's biggest dependency. Werewolf wants a healthy crowd and, more importantly, a willing one. A half-empty room full of people determined not to participate would inevitably change its energy. General admission seating also means your experience varies depending on where you sit. The front row is definitely the full-contact zone, while anyone farther back should choose a seat with a decent view of the screen and live feed. So choose wisely. Also, there is a strict lockout. Don't be late. And hold your pee! Werewolf is the sort of immersive theatre I can happily recommend to people who normally hear “audience participation” and begin planning an emergency exit. You are given enough structure to feel safe joining in, while Baxendale, Reid, and Kelly are quick enough to catch whatever extra chaos the room invents. Luckily, I thrive in a crisis.

Title: A Murder is Announced Presented By: Toowoomba Repertory Theatre Society Genre: Murder Mystery / Crime Thriller / Drama Synopsis: Based on Agatha Christie's classic novel and adapted for the stage by Leslie Darbon, A Murder is Announced is a suspenseful whodunnit filled with secrets, deception and unexpected twists. An unusual announcement appears in the local newspaper of the quiet English village of Chipping Cleghorn: A murder is announced and will take place on Friday, October 13th, at Little Paddocks at 6:30pm. Intrigued by the mysterious invitation, the neighbours gather at Little Paddocks expecting an elaborate parlour game. However, when the clock strikes 6:30, the lights go out, gunshots ring through the house, and a body is discovered on the floor. As hidden identities, suspicious motives and dangerous secrets emerge, Inspector Dermot Craddock and the sharp-witted Miss Jane Marple must unravel the mystery before the murderer strikes again. Audition Date: Saturday 24 October 2026 Audition Time: 2:00pm Audition Location and Address: Toowoomba Repertory Theatre, 94 Margaret Street, East Toowoomba Parking is available behind the theatre, accessible via Austral Lane. Audition Requirements: Read and prepare the supplied script excerpts relevant to the characters you wish to audition for. Audition excerpts do not need to be memorised. Applicants may bring an additional audition piece if desired. Performers should demonstrate clear diction, strong vocal projection, characterisation and the ability to work collaboratively. Previous acting experience is beneficial but not essential. New members of Toowoomba Repertory Theatre should complete the personal information and acting experience form included in the audition notice and bring it to the audition. Audition Registration: Email production@toowoombarep.com.au to confirm your intention to audition. Include your interest in a particular character or backstage position, along with a brief outline of any relevant theatre experience. Contact: Director: Mike Taylor Phone: 0422 514 183 Email: production@toowoombarep.com.au Applicants who cannot attend on 24 October should contact Mike to discuss their availability. Audition Pack: Download Audition Information (PDF) Performance Dates: 23 February – 6 March 2027 Performance Location: Toowoomba Repertory Theatre, 94 Margaret Street, East Toowoomba QLD Rehearsal Dates: Commencing the first week of December 2026, with a break over Christmas and New Year. Rehearsal Times: Two weekday evenings per week, approximately 7:00pm–9:00pm. One half-day weekend rehearsal per week. The rehearsal schedule will be developed around cast and crew availability wherever possible. Performers should disclose any known scheduling conflicts when registering. Performer Age: Adult performers. Creative Team: Director – Mike Taylor Playwright – Agatha Christie Stage Adaptation – Leslie Darbon Production Website: https://www.toowoombarep.com.au/audition Other information: Miss Jane Marple has already been cast and is not available for audition. Backstage opportunities are available for stage management, stage crew, rehearsal prompting, lighting and sound operation. No previous theatre experience is necessary for backstage positions, as training will be provided. Applicants who are not cast may be considered for backstage roles or future productions. The company encourages anyone interested in becoming involved with Toowoomba Repertory Theatre to attend, regardless of their experience or suitability for this particular production. Available Roles/Character Breakdown Inspector Dermot Craddock Gender: Male A steady, methodical police inspector tasked with investigating the mysterious murder at Little Paddocks. Craddock approaches the case with careful observation, logical reasoning and a dry sense of humour. As the investigation becomes increasingly complicated, he must navigate contradictory accounts, suspicious behaviour and concealed identities. Performance Requirements: Strong diction, natural authority, understated comedic timing and the ability to portray an intelligent, methodical investigator. Letitia "Letty" Blacklock Gender: Female The owner of Little Paddocks, where the mysterious murder announcement draws the villagers together. Composed, guarded and outwardly respectable, Letitia possesses hidden depths that become increasingly significant as the investigation unfolds. Performance Requirements: Subtle emotional range, controlled characterisation and the ability to suggest secrets beneath a calm exterior. Dora "Bunny" Bunner Gender: Female Letitia's former childhood companion, who now lives with her at Little Paddocks. Scatterbrained, befuddled and excitable, Bunny is an endearing but sometimes exasperating presence. Her unpredictable behaviour and tendency to become flustered contribute to both the humour and tension of the story. Performance Requirements: Strong character acting, comedic timing and the ability to balance eccentricity with emotional sincerity. Mitzi Gender: Female The eccentric foreign maid and cook employed at Little Paddocks. Highly dramatic, paranoid and hot-tempered, Mitzi is prone to emotional outbursts and exaggerated reactions. Her unpredictable personality makes her a memorable presence among the household's inhabitants. Performance Requirements: Energetic characterisation, strong comedic instincts and the ability to portray heightened emotions. Julia Simmons Gender: Female An intelligent, poised young woman with a cool, modern confidence. Julia is composed and self-assured, with an observant nature and an ability to maintain control in uncomfortable situations. Performance Requirements: Naturalistic acting, confident stage presence and the ability to suggest complexity beneath a composed exterior. Patrick Simmons Gender: Male A charming, witty young man with a mischievous streak. Patrick brings humour and a playful energy to the household, although his charm and unpredictable behaviour can complicate the investigation. Performance Requirements: Strong comedic timing, charisma and the ability to convey a mischievous personality. Phillipa Haymes Gender: Female A quiet, elegant woman who carries considerable emotional weight. Phillipa's reserved manner conceals a deeper emotional life, requiring an understated and sensitive performance. Performance Requirements: Emotional subtlety, restraint and the ability to communicate complex feelings through naturalistic acting. Mrs Clara Swettenham Gender: Female A pushy, gossipy and easily flustered village resident. Mrs Swettenham is an outspoken member of the local community whose curiosity and tendency to involve herself in other people's affairs add humour and complication to the unfolding mystery. Performance Requirements: Strong comedic timing, expressive characterisation and confident delivery. Edmund Swettenham Gender: Male Mrs Swettenham's young, intellectual son and an aspiring writer. Sardonic, observant and quick-witted, Edmund approaches the world with a sharp intelligence and a tendency towards dry humour. Performance Requirements: Clear diction, understated comedy and the ability to portray an intelligent, observant character. Miss Jane Marple – PRECAST Gender: Female An elderly spinster with exceptional powers of observation, a sharp intellect and an inquisitive nature. Miss Marple's understanding of human behaviour makes her invaluable in solving the mystery alongside Inspector Craddock. This role has already been cast and is not available for audition. Backstage and Technical Opportunities Toowoomba Repertory Theatre is also seeking volunteers for the following positions: Stage Manager: Coordinating backstage activity and assisting with the smooth running of performances. Stage Crew / Stagehands: Assisting with scene changes, props and backstage operations. Rehearsal Prompter: Following the script and assisting performers with forgotten lines during rehearsals. Lighting Operators: Operating lighting cues during performances. Sound Operators: Operating sound effects and audio cues. Previous experience is not required, and training will be provided. Interested volunteers should email production@toowoombarep.com.au to express their interest.

Title: How to Survive a Happy Childhood Presented By: Ad Astra Theatre Company Genre: Contemporary Drama / Dark Comedy / Family Drama Synopsis: A world premiere by acclaimed Australian playwright David Williamson, How to Survive a Happy Childhood is a sharp, provocative comedy exploring family, fortune, love, privilege and the price of getting what you want. Jess has left Brisbane to study business in Geelong, but rising rent, mounting bills and academic pressures are making independence more difficult than she imagined. Hoping for support from her wealthy Toorak grandparents, she instead encounters her grandfather Jack's uncompromising belief in self-sufficiency and his longstanding contempt for her parents. When Jess falls for Carl, a charming but increasingly possessive law student, her financial and emotional troubles intensify. As romance turns into control and family tensions escalate, Jess finds herself caught between a demanding boyfriend and a grandfather unwilling to compromise. With Jack's 70th birthday approaching, Jess discovers that a family secret may give her the leverage she needs to turn the tables. As three generations collide over money, morality and love, Williamson delivers a biting examination of privilege, hypocrisy and the family values we inherit. Audition Date: Saturday 17 October 2026 Audition Time: 10:00am – 2:00pm Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a monologue of approximately two minutes. Following the initial audition, applicants will be provided with selected scenes from the play to prepare and read alongside other auditioning actors. Applicants should be prepared for collaborative scene work and character exploration. Callbacks: Wednesday 21 October 2026 at 6:00pm, if required. Audition Registration: Applications close Friday 9 October 2026. Email fionakennedy@adastracreativity.com with: A current CV in Word or Google Docs format only. A recent headshot. The name of the character you wish to audition for. Performance Dates: 4–27 February 2027 Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: From Monday 9 November 2026 Performer Age: Adult performers. Character age ranges span approximately 18–70 years. Creative Team: Director – Heidi Gledhill Playwright – David Williamson Production Website: https://www.adastracreativity.com/auditions-news Other information: This production is the world premiere of David Williamson's How to Survive a Happy Childhood. This is a co-operative production, with performers receiving a share of ticket sales after expenses rather than a guaranteed fixed fee. The company welcomes applications from actors of diverse backgrounds, ethnicities and body types. Available Roles/Character Breakdown JESS Gender: Female Playing Age: 18–25 The emotional centre and narrator of the play. Jess is bright, warm and initially somewhat sheltered. Leaving her loving Brisbane home to study business in Geelong, she discovers that adulthood is far more complicated than she expected. As financial pressures mount and her romantic relationship becomes increasingly unhealthy, Jess must navigate difficult choices involving independence, family loyalty and self-worth. Her journey takes her from insecurity and romantic idealism towards greater self-awareness, confidence and independence. Performance Requirements: Strong emotional range, naturalistic acting and the ability to sustain the audience's connection as the central storyteller. CARL Gender: Male Playing Age: 20–25 A charismatic, confident third-year law student who sweeps Jess off her feet with charm, attention and intense romantic certainty. Initially appealing and seemingly devoted, Carl gradually reveals a darker side characterised by jealousy, possessiveness and an increasing need for control. The role requires an actor who can make Carl's early romantic appeal convincing while allowing his manipulative behaviour to emerge progressively. Performance Requirements: Strong dramatic versatility, believable charm and the ability to portray psychological complexity and controlling behaviour. GEMMA Gender: Female Playing Age: 45–55 Jess's loving, perceptive and fiercely protective mother. A former aspiring lawyer, Gemma chose a life of music and love over the financially secure future her wealthy parents had envisioned for her. Warm, emotionally intelligent and deeply connected to her daughter, Gemma quickly recognises the warning signs in Jess's relationship with Carl. Unwilling to remain silent when her daughter is threatened, she provides an important moral and emotional counterpoint to the family's wealthier members. Performance Requirements: Emotional authenticity, warmth, intelligence and the ability to communicate protective strength. BARRY Gender: Male Playing Age: 45–55 Jess's affectionate, optimistic father. A former accountant who abandoned a conventional career to pursue music alongside Gemma, Barry represents a different philosophy of success from his wealthy in-laws. Gentle, supportive and less suspicious than his wife, Barry embodies the warmth, stability and unconditional love of Jess's childhood home. Performance Requirements: Naturalistic acting, warmth, sincerity and an approachable, optimistic stage presence. JACK Gender: Male Playing Age: 60–70 Jess's wealthy, highly successful and fiercely opinionated grandfather. Jack is committed to the belief that people must earn their own success and that hardship builds character. His uncompromising attitude towards financial independence is matched by his disdain for Jess's parents and their unconventional choices. Forceful, charismatic and frequently infuriating, Jack can also be funny and engaging. The role requires an actor who can find the humanity beneath his stubbornness and avoid reducing him to a one-dimensional antagonist. Performance Requirements: Commanding stage presence, strong comedic timing, emotional nuance and the ability to portray deeply held convictions. CATRIONA Gender: Female Playing Age: 60–70 Jess's glamorous and wealthy grandmother. Charming, socially confident and unapologetically fond of luxury, status and the comfortable life she has created, Catriona presents a warmer and more approachable personality than her husband Jack. However, beneath her polished exterior, she shares many of Jack's assumptions about money, success and what constitutes a worthwhile life. Performance Requirements: Sophisticated characterisation, confident stage presence, subtle comedy and the ability to balance charm with underlying social prejudice.

Title: Gypsy Presented By: Beenleigh Theatre Group Genre: Musical Synopsis: Set during the golden age of vaudeville and the rise of burlesque, Gypsy follows the formidable Rose, a fiercely ambitious stage mother determined to make her daughters stars. When her talented daughter June breaks away to pursue her own future, Rose redirects her ambitions towards the shy and overlooked Louise. Louise’s unexpected journey takes her from the shadows of her sister’s act to becoming the sophisticated and self-assured burlesque star Gypsy Rose Lee. Audition Date: Saturday 17 & Sunday 18 October 2026 Audition Time: Saturday 17 October: Adults (18+): Welcome & Brief 11:00–11:15am; Dance Call 11:15am–12:15pm; Vocal/Blend Call 12:15–1:00pm Under 18s: Welcome & Brief 12:15–12:30pm; Dance Call 12:30–2:00pm; Individual Auditions 2:45–6:00pm Sunday 18 October: Adult individual auditions, 10:00am–6:00pm Audition Location and Address: Crete Street Theatre, Cnr Crete and Kent Street, Beenleigh QLD 4207 Audition Self-Tape Due (if applicable): Video submissions close 6:00pm, Saturday 17 October 2026. Audition Requirements: All auditionees must attend the compulsory dance call relevant to their age group. A choreography tutorial will be available on the audition page beforehand and should be learnt to the best of the auditionee’s ability. Only a brief recap will be provided on the day. Wear comfortable movement clothing and suitable footwear such as sneakers or jazz shoes, and bring water. Auditionees aged 18+ must also attend the compulsory group vocal/blend call. For the individual vocal audition, prepare two contrasting excerpts, approximately one minute each or around a verse and chorus/bridge and chorus, in the style of the show and character. Do not sing from Gypsy unless the character breakdown specifically permits a song. Prepare one of the provided acting sides for the character you wish to be considered for. Auditionees may also be redirected or asked to cold read. Ensemble-only auditionees should prepare Side 9 or 10 as applicable, or one of Sides 1–7. Children should prepare Side 8. All roles require a Standard American accent. Audition Registration: Book a Gypsy audition Audition enquiries: info@beenleightheatregroup.com Audition Pack: Gypsy Audition Pack Performance Dates: 5–20 February 2027 Performance Times: Friday 5, 12 & 19 February – 7:30pm Saturday 6, 13 & 20 February – 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Cnr Crete and Kent Street, Beenleigh QLD 4207 Rehearsal Dates: From Sunday 25 October 2026. Promotional photo shoot Tuesday 8 December Bump-in Sunday 13 December Sitzprobe Sunday 10 January Tech from Sunday 24 January Media preview Monday 1 February. Mandatory bump-out Sunday 21 February. Rehearsal Times: Tuesdays & Thursdays, 7:00–10:00pm; Sundays, 11:00am–4:00pm. Warnings: The production contains references to burlesque and striptease, including a tasteful striptease sequence performed by Louise in Act 2. Performer Age: Adult and child performers required. All roles except Baby Louise, Baby June, and Children’s Ensemble must be performed by people aged 18+. Creative Team: Director – Patrick Lockyer Choreographer – Nikki Bovey Vocal Director – Jade Enright Production/Stage Manager – Haylee Barnett Production Website: Beenleigh Theatre Group Auditions Other information: Callbacks will be held Tuesday 20 October 2026. Successful auditionees must become Beenleigh Theatre Group members at a cost of $10 for the 2026 calendar year, payable before the first rehearsal. All cast, creatives, crew, and volunteers aged 18+ must hold, or be willing to obtain before rehearsals commence, a current Queensland Blue Card or applicable Exemption Card. Beenleigh Theatre Group encourages performers from diverse cultural and ethnic backgrounds, gender identities and expressions, sexual orientations, abilities, neurotypes, and experiences to audition. First Nations artists are strongly encouraged to apply. Available Roles/Character Breakdown: Rose – Female presenting | Playing age 35–60 | F3–C5 | The ultimate stage mother: ambitious, relentless, charismatic, manipulative, loving, and deeply flawed. Rose lives through her daughters and refuses to accept failure, moving between humour, charm, dominance, and heartbreak. Auditionees may perform either Some People or Small World as one of their two excerpts, but not both. Louise / Gypsy Rose Lee – Female presenting | Playing age 22–27 | G3–Eb5 | Rose’s initially shy, awkward, and overlooked daughter. Louise gradually transforms into the sophisticated, witty, and confident burlesque star Gypsy Rose Lee. The role includes a tasteful striptease sequence in Act 2. Auditionees may perform Little Lamb as one of their two excerpts. June / Dainty June – Female presenting | Playing age 18–25 | G3–D5 | Rose’s talented and energetic “golden child.” Beneath her cheerful stage persona, June increasingly resents her mother’s control and becomes determined to take charge of her own future. Baby Louise – Female presenting | Playing age 9–13 | Eb4–Eb5 | June’s quieter younger sister. Shy, awkward, imaginative, and frequently overlooked, with glimpses of the confident woman she will eventually become. Baby June – Female presenting | Playing age 8–12 | Eb4–Eb5 | A confident, enthusiastic child star who thrives in the spotlight. She is eager to please and spends much of her childhood performing Rose’s elaborate vaudeville routines. Herbie – Male presenting | Playing age 40–60 | Ab2–B3 | A former salesman turned theatrical agent who becomes Rose’s manager and romantic partner. Kind, patient, dependable, and quietly strong, he loves Rose and cares deeply for her daughters but eventually has to stand up for himself. Tulsa – Male presenting | Playing age 18–30 | F3–G4 | One of the boys in June’s act and her eventual love interest. Charming, ambitious, energetic, and charismatic, Tulsa dreams of escaping children’s vaudeville and becoming a star in his own right. A strong song-and-dance role. Tessie Tura – Female presenting | Playing age 30–55 | Bb3–Db5 | A glamorous, worldly, funny, and unapologetically theatrical burlesque performer who helps introduce Louise to the profession. Her performance gimmick incorporates ballet, so ballet experience is advantageous. Mazeppa – Female presenting; female impersonator considered | Playing age 35–60 | G3–Db5 | A tough, confident, blunt, and intimidating but ultimately supportive burlesque performer. Her famous gimmick combines trumpet playing with a centurion-inspired routine. Electra – Female presenting; female impersonator considered | Playing age 35–65 | Bb3–Db5 | A sweet, bubbly, slightly ditzy burlesque performer whose act incorporates lights and electricity. Although seemingly naïve, she is an experienced professional who understands the business. Ensemble – Various ages and rolesA mixture of named and unnamed, speaking and non-speaking, singing and non-singing roles, including the Master of Ceremonies, Rose’s Father, theatre secretaries, agents, restaurant staff, Hollywood Blondes, stage managers, burlesque performers, and other characters. Children’s Ensemble – Under 18 - Young performers appearing throughout the vaudeville world of the production. Children auditioning for Baby June, Baby Louise, or Children’s Ensemble should prepare Side 8 and are invited to create a big entrance, incorporating skills such as cartwheels, splits, or pirouettes if able.

Title: The Girl on the Train Presented By: Tugun Theatre Company Genre: Psychological Thriller / Mystery / Drama Synopsis: Based on the bestselling novel by Paula Hawkins, The Girl on the Train follows Rachel Watson, whose daily train journey gives her glimpses into the seemingly perfect lives of the people living beside the railway. When a woman Rachel has been watching suddenly disappears, Rachel becomes entangled in the investigation. Complicated by gaps in her memory and her connections to the people involved, Rachel begins trying to piece together what she witnessed and what really happened. The story explores memory, relationships, manipulation, obsession, and the uncertainty of what can be trusted. Audition Date: Saturday 17 October 2026 Audition Time: 11:00am–3:00pm Audition Location and Address: Tugun Village Community Centre, 414 Coolangatta Road, Tugun QLD Audition Requirements: Request the audition pack through the Tugun Theatre Company website and review the supplied character sides. The in-person audition will focus on script scenes, listening, responsiveness, and chemistry with scene partners. No audition monologue is required. For audition safety, there will be no kissing, simulated intimacy, or simulated violence during auditions. Audition Registration: Register and request the audition pack through: Tugun Theatre Company – Auditions Performance Dates: 5–27 February 2027 Performance Times: Friday & Saturday evening performances – 7:30pm Saturday matinees – 2:00pm Thrifty Thursday, 25 February Performance Location: Tugun Theatre Company / Tugun Village Community Centre, 414 Coolangatta Road, Tugun QLD Warnings: The production contains sexual content and staged violence. Performer Age: Adult performers, 18+. Other information: Tugun Theatre Company is also inviting expressions of interest from people interested in backstage and front-of-house roles. Available Roles/Character Breakdown: Rachel Watson | Suggested playing age 30–45 | A central role requiring an actor able to portray memory gaps and vulnerability without exaggeration. Megan Hipwell | Suggested playing age 25–40 | Requires an actor able to balance charm, guarded pain, and quick changes of tactic. Anna Watson | Suggested playing age 30–45 | Requires genuine warmth, with doubt emerging gradually as the story develops. Tom Watson | Suggested playing age 35–50 | Requires an actor who can make Tom’s charm credible while maintaining an underlying sense of control. Kamal Abdic | Suggested playing age 30–50 | Requires calm, attentive listening while portraying complex personal boundaries. The production is seeking an actor of colour for this role. Ensemble | 18+ | Varied playing ages | Seeking performers with grounded presence, responsiveness, and flexibility.

ROSMERSHOLM Presented by: SEERCRAFT Venue: Albert Street Uniting Church Date attended: 19 September 2026 Written by: Henrik Ibsen Translated by: Charles Archer Directed by: Silvan Rus Sound Design / Organ: Silvan Rus Photography: Benjamin Prindable Photography “The mind is a queer thing.” SEERCRAFT stages Henrik Ibsen’s 1886 psychological drama inside Albert Street Uniting Church, and the building immediately becomes part of the action. I spend the evening surrounded by towering organ pipes, pews, and religious architecture, as though I’ve arrived for a very formal wedding. Then a woman veiled in black walks down the aisle and suddenly it’s giving Corpse Bride. Rosmersholm is the ancestral home of Johannes Rosmer (Dudley Powell), a widowed former clergyman whose wife, Beata, died before the events of the play. Rebecca West (Meg Bowden), formerly Beata’s companion, has remained and is now effectively the lady of the house. Rosmer has left the church and adopted progressive views, much to the horror of his old friend and brother-in-law, Rector Kroll (Silvan Rus). What follows is a dense tangle of politics, guilt, attraction, manipulation, and family reputation. Albert Street Uniting Church is an inspired place to put it. Rosmer can reject his inherited faith all he likes, but director Silvan Rus keeps him trapped inside the architecture of it. Family name, morality, religion, and tradition press inward. Rus plays the organ before and throughout the performance, its sound swelling through a space built to carry it. The piano and organ open Act Two with a morbid quality, like the soundtrack inside Rebecca’s head as life at Rosmersholm begins coming apart. The reverb is gorgeous. The pews are not. Bring a cushion. Your bum WILL hurt. Dudley Powell gives Rosmer an approachable warmth that makes his deterioration difficult to watch. He spends much of the evening one distressing revelation away from tears, and as Beata’s private suffering comes into focus, that fragility escalates into full-blown panic. Rosmer has convinced himself that his bond with Rebecca is innocent, even describing it as a “spiritual marriage”. Discovering what his wife believed forces him to rethink the quiet, lonely battle she may have been fighting while he remained oblivious beside her. Powell absorbs each fresh accusation as though it might finally explain everything. Having rejected one moral certainty, Rosmer is desperate to find another. Guilt gets under his skin and stays there. Powell’s scenes with Meg Bowden are strongest when their behaviour contradicts all that talk of purity. In one exchange, they remain physically separate while Powell circles Rebecca, follows her movements, and watches her with unmistakable desire. Their conversation circles just as stubbornly. These are two people who can discuss the nature of their bond for paragraphs at a time and somehow leave it murkier with every sentence. “Do not speak in riddles!” Bowden first presents Rebecca as warm, capable, coy, and adept at making herself welcome in Rosmer’s home. You understand why he trusts her. She has influenced him deliberately and, at least initially, used that influence in pursuit of her own ideas about status and progress. Whether every action is malicious is harder to pin down, because the woman who starts with a plan develops feelings inconvenient enough to wreck it. As the pressure around Rebecca builds, Bowden’s composure begins to splinter. Confidence gives way to fear and desperation, while her excitement when Rosmer offers her the future she had been steering him towards is complicated by everything she is hiding. She can be elated one moment and cornered the next, each shift registering across her face and body before Rebecca finds the words for it. The visual irony sharpens when she exchanges her heavy black dress for white in Act Two. White might suggest innocence or renewal, except by then the supposedly blameless household is becoming harder to defend. Silvan Rus plays Kroll as initially playful and enjoyably opinionated. His friendship with Rosmer feels authentic enough that their later screaming match hurts beyond the political disagreement. They’re two old friends discovering that they no longer inhabit the same moral universe, both shouting at what may as well be a brick wall. Kroll is also willing to tell Rosmer things nobody else will. “You blind, deluded dink!” may come from nineteenth-century Ibsen, but it lands with modern bluntness. Rus changes tack completely with Rebecca. Their earlier interactions carry a comfortable familiarity; later, every scrap of her charm has been reclassified in Kroll’s mind as evidence of manipulation. “Whom could you not bewitch if you tried?” he asks as their exchanges harden into verbal sparring. Bowden’s fear, Rus’s rage, and Powell’s despair collide as the accusations spill into the open. Alexis Beebe as Madam Helseth spends much of the play looking quietly concerned by the behaviour of everyone around her. Naturally, the maid knows everything. Rebecca skilfully draws gossip and history from her, including Rosmersholm’s peculiar household traditions: children apparently don’t cry, people rarely laugh, and sightings of white horses are regarded as omens. A cheery place, really. Robert H. Wainwright doubles as Ulrik Brendel and Peter Mortensgård. Brendel arrives as a ruined but wildly earnest idealist in need of clothes and money, still clinging to grand ideas despite having very little left to offer. There’s desperation in his conviction that he still has something important left to give. Mortensgård is far more controlled and calculating. As a newspaper editor with political interests of his own, he speaks with greater restraint, and Wainwright’s stillness and intense gaze give him a quiet authority. His shift between the two roles is sharp, particularly when Mortensgård arrives with information that drags Beata back into the conversation. Though never seen, Rosmer’s late wife exerts enormous control over the play. The woman whose suicide he has long linked to what he saw as an irrational state of mind begins to look disturbingly perceptive. The production asks patience from a contemporary audience. Charles Archer’s translation is wordy, and there are stretches where the characters discuss politics, morality, motives, and one another at considerable length. The repetition can slow the tension, particularly in a venue where physical comfort isn’t exactly helping concentration. By the time the characters reach their final decisions, everyone has talked themselves into such a spectacular moral corner that what follows prompts a groan from me. It is all VERY tragic. For my first encounter with Ibsen, though, this is theatre unlike much I’ve seen before. SEERCRAFT uses the church aisles and different levels around the altar well, while the pipe organ deepens the gloom until the whole thing feels almost ceremonially doomed. Rosmer spends the night trying to escape inherited religion and the ghosts of his past while standing beneath an organ inside a church. He never really stood a chance did he? There are no tidy moral lessons or comforting happy endings here. Ibsen strips away respectable appearances until his characters are left facing the secrets and lies underneath them. I’m very glad this was my introduction to his work.

Title: Wolf Lullaby Presented By: VOX Productions Genre: Australian Psychological Drama / Thriller Synopsis: A small boy is found dead in a popular children’s play area, and suspicion quickly falls on nine-year-old Lizzie Gael. As evidence mounts, Lizzie’s mother, Angela, must confront the possibility that her daughter may be responsible and decide whether protecting her child is more important than revealing the truth. Written by Australian playwright Hilary Bell, Wolf Lullaby explores parental responsibility, childhood violence, guilt, morality and the unsettling question of whether evil is innate or created. Audition Date: By appointment on the 25th of October 2026 Audition Location and Address: Applications are being accepted electronically. Applications close at 5:00pm on Sunday 27 September 2026. Audition Requirements: Applicants should request the audition pack from VOX Productions. The publicly available notices do not specify the required monologues, scenes, self-tape length, slate information or other audition materials. The role of Lizzie requires exceptional naturalism, emotional maturity and restraint. The role of Toby is voice-only and must be applied for by a parent or guardian. Applicants should consult the audition pack for the complete audition and submission requirements. Audition Registration: Apply through the StarNow casting listing or contact VOX Productions at hello@vox-productions.com to request the audition pack and application instructions. Audition Pack: Audition packs are currently available by emailing hello@vox-productions.com. Performance Dates: Wednesday 3 February 2027 Thursday 4 February 2027 Friday 5 February 2027 Saturday 6 February 2027 Performance Location: PIP Theatre, 20 Park Road, Milton QLD 4064. Rehearsal Dates: Rehearsals begin 28th of October, 2026. These are on Wednesdays (6:30pm-9:30pm) and Sundays (12pm-4pm). Rehearsals will also occur in January (dates TBC). Rehearsal Location: Lavalla Centre, 8 Fernberg Road, Paddington, 4064 and PIP Theatre Warnings: Contains themes involving: The death and suspected murder of a young child Childhood violence Discussions of evil and criminal responsibility Police investigation Parental separation and family conflict Psychological distress, fear and nightmares Guilt, grief and moral conflict Performer Age: Lizzie Gael: Character age 9; performer must be 16 or older Angela Gael: Playing age 25–40 Warren Gael: Playing age 25–40 Sergeant Ray Armstrong: Playing age 45–60 Toby: Performer age 8–10; voice-only role (parent must apply) Creative Team: Playwright – Hilary Bell Director – Susan O’Toole Cridland Producer – VOX Productions Production Website: Wolf Lullaby – StarNow Casting Listing Other information: Roles are offered on a profit-share basis Applicants should request the audition pack for all submission, rehearsal and production commitments. Enquiries can be directed to hello@vox-productions.com. VOX Productions’ official audition announcement is available on Instagram. Available Roles/Character Breakdown: Lizzie Gael Female-presenting Character age: 9 Performer must be aged 16 or older Bright, imaginative, inquisitive and difficult to categorise. Lizzie becomes the principal suspect after a young boy is found dead. A demanding lead role requiring exceptional naturalism, emotional maturity and restraint. The performer must convincingly portray a nine-year-old without presenting a caricature of childhood. Angela Gael Female-presenting Playing age: 25–40 Lizzie’s mother. Angela is forced to confront the possibility that her daughter may be responsible for a child’s death and faces an agonising conflict between maternal loyalty and moral responsibility. Requires considerable emotional range and the ability to portray fear, grief, doubt and parental love. Warren Gael Male-presenting Playing age: 25–40 Lizzie’s father and Angela’s former partner. Warren struggles to understand Lizzie’s behaviour and the implications of the accusations against her. Requires a grounded dramatic performer capable of exploring parental guilt, denial and uncertainty. Sergeant Ray Armstrong Male-presenting Playing age: 45–60 An experienced police officer accustomed to clear distinctions between right and wrong. The investigation and his interactions with Lizzie challenge his confidence in those categories. Requires a strong, authoritative presence balanced with empathy and moral uncertainty. Toby Open presenting gender Performer age: 8–10 Voice-only role A parent or guardian must apply on the child performer’s behalf. No further character or recording requirements have been publicly provided.

Title: Disney’s Frozen: The Broadway Musical Presented By: Swich Up Productions (SUP) Genre: Musical / Family Fantasy Synopsis: In the kingdom of Arendelle, sisters Elsa and Anna are inseparable until Elsa’s magical ice powers accidentally injure Anna. To protect them both, their parents isolate Elsa and close the castle gates, leaving the sisters to grow up separated from one another. Years later, Elsa’s powers are accidentally revealed during her coronation, and she flees Arendelle, unintentionally plunging the kingdom into an eternal winter. Anna sets out to find her sister, joined by ice harvester Kristoff, his loyal reindeer Sven, and the magical snowman Olaf. When Elsa accidentally freezes Anna’s heart, the sisters ultimately discover that an act of true love may not mean what they first imagined. Audition Dates: Adults: Sunday 15, Friday 20, Saturday 21 & Sunday 22 November 2026 Youth: First-round video auditions due Sunday 1 November 2026; callback workshop Sunday 22 November 2026 at 2:00pm, approximately three hours, by invitation only. Audition Time: Adults: Individual 8-minute audition slots selected during registration. Compulsory dance calls: Sunday 15 November – 12:30pm Friday 20 November – 7:00pm Saturday 21 November – 12:30pm Sunday 22 November – 12:30pm Adult callbacks – Tuesday 24 November, 7:00pm–10:00pm, by invitation only. Audition Location and Address: Adult auditions & youth callbacks: Fire Station 101,101 Limestone Street, Ipswich QLD Audition Requirements: Adults prepare: Two contrasting 32-bar musical theatre selections in the style of the show, approximately one minute each. The panel may only hear one. Songs should showcase vocal ability, storytelling, and connection to character. Bring backing tracks on a Bluetooth-compatible device. No a cappella auditions. Learn one of the supplied short harmony tracks appropriate to your voice type. The audition will assess your ability to independently hold a harmony while singing with others. Prepare one of the supplied acting excerpts. Choose whichever excerpt you connect with most strongly. Acting material does not need to be memorised. Scenes should be performed in a General American accent, unless otherwise specified for a character. Attend the compulsory dance call, with choreography taught during the session. Wear appropriate clothing and footwear. Adult applicants must upload a CV and headshot and disclose all potential and confirmed rehearsal conflicts, including involvement in overlapping productions. Youth – Young Anna & Young Elsa: Submit one continuous, unedited video containing a brief introduction stating the performer’s name, age, height, and character they would like to play. The first 1 minute 30 seconds of “Do You Want to Build a Snowman?”, ending at “Tick Tock Tick Tock.” Perform with an instrumental/karaoke backing track. No a cappella singing or lead vocals on the track. Film horizontally in a well-lit, quiet space with an uncluttered background. Frame approximately mid-torso to just above the head. Ensure the performer’s voice is louder than the backing track. No autotune, reverb filters, or heavy editing. Shortlisted youth performers will attend a supportive group callback/workshop exploring acting, singing, learning material, taking direction, and potential Anna/Elsa pairings. Audition Registration: Adult Audition Registration Youth Audition Registration Youth video links should also be emailed to auditions@swichupproductions.com.au. Videos may be supplied via Google Drive, Dropbox, unlisted YouTube, or Vimeo, with link permissions tested before submission. Audition Pack: Harmony Tracks Audition Scripts Performance Dates: Saturday 29 May 2027 Sunday 30 May 2027 Friday 4 June 2027 Saturday 5 June 2027 Sunday 6 June 2027 Potential additional performances/hold dates: Wednesday 2 June, Thursday 3 June and/or Sunday 6 June evening. Performance Location: Ipswich Civic Centre, Nicholas Street, Ipswich QLD600-seat venue Rehearsal Dates: Rehearsals commence Sunday 7 February 2027. Compulsory production week: Wednesday 26 May – Technical Rehearsal, Thursday 27 May – Dress Rehearsal, Friday 28 May – Dress Rehearsal Rehearsal Times: Sundays – 9:00am–5:00pm, Tuesdays – 7:00pm–10:00pm Youth performers will not be required at every rehearsal or for the full duration of each rehearsal. Their calls will be scheduled in advance and kept appropriate to their involvement. Warnings: The production also includes staged romantic intimacy. Anna/Hans and Anna/Kristoff involve physical closeness and a kiss. An intimacy coordinator will be engaged for the production. Performer Age: Adult cast – minimum 18 years old as at 7 February 2027. Youth applicants for Young Anna and Young Elsa – 9–15 years old. Individual character playing ages and approximate height requirements apply. Creative Team: Director – Hayley Gervais Musical Director – Sally Faint Choreographer – Jennifer B. Ashley Production Website: Frozen Adult Auditions Frozen Youth Auditions Other information: This is an adult production with two youth roles, Young Anna and Young Elsa. Both youth roles will be double-cast, with two Young Annas and two Young Elsas, and performances divided between them. Each youth performer will perform in at least four shows. No roles are paid. The production welcomes performers of all ethnicities, cultural backgrounds, abilities, and levels of experience. For youth rehearsals, a parent, legal guardian, or nominated adult must remain on site to supervise the child. During production week and performances, a dedicated accredited Blue Card chaperone will supervise Young Anna and Young Elsa backstage. Youth casting decisions will be announced by Sunday 29 November 2026. Available Roles/Character Breakdown: Elsa | Female-presenting | Playing age 20s–30s | Mezzo-Soprano/Belt, E3–E5 | The heir to Arendelle’s throne, burdened by magical powers she cannot control. Poised and regal but living with considerable fear and internal conflict. Requires emotional vulnerability and a powerful contemporary musical theatre belt. Anna | Female-presenting | Playing age 20s–30s | Mezzo-Soprano/Belt, F3–E5 | Optimistic, energetic, socially awkward, and driven by a deep desire for connection. Anna has an indomitable spirit despite years of isolation. Requires strong comedic timing and a bright, youthful vocal quality. Kristoff | Male-presenting | Playing age 20s–30s | Baritone/Tenor, A2–Bb4 | A rugged and blunt ice harvester who is more comfortable with his reindeer than people. Beneath his gruff exterior is a loyal and sensitive heart. Requires a grounded folk-rock vocal quality and strong chemistry with Anna. Hans | Male-presenting | Playing age 20s–30s | Baritone/Tenor, A2–A4 | The youngest of thirteen princes from the Southern Isles. Charming, intelligent, and seemingly Anna’s ideal romantic match, but conceals calculated ambitions. Requires leading-man charisma with the ability to transition into a darker, more commanding presence. Olaf | Open gender | Playing age open | Alto/Tenor, approximately E3–Eb5 | The magical snowman created by Elsa and an embodiment of the sisters’ childhood bond. Innocent, warm, optimistic, and funny. Played by a puppeteer, requiring strong physical comedy and a character-driven voice. Previous puppetry experience is useful but not essential. Weselton | Male-presenting | Playing age 40s–60s | Baritone/Tenor, F3–A4 | A Duke from a neighbouring kingdom who is chauvinistic, impolite, and judgemental. Requires strong comic character acting and authoritative bluster. British Received Pronunciation accent. Oaken | Playing age 30s–50s | Baritone/Tenor, A2–Bb4 | The eccentric and jovial owner of Wandering Oaken’s Trading Post and Sauna. Requires high-energy character acting and strong comedic instincts/improvisation. Danish accent. Sven | Open gender | Adult | Non-singing physical role | Kristoff’s loyal reindeer companion. Playful, expressive, gentle, and full of personality, communicating through movement and physical comedy rather than speech. Performed in a full-body costume and requires considerable physical stamina, body control, endurance, and confidence with animal-inspired movement. Puppetry, gymnastics, or acrobatic experience is useful but not essential. Queen Iduna | Female-presenting | Playing age 30s–40s | Soprano/Mezzo-Soprano, F3–C5 | Mother of Elsa and Anna. Compassionate and regal, while concealing her mysterious connection to the Hidden Folk in an attempt to protect her family. Requires strong acting and the ability to convey maternal longing and secrecy. King Agnarr | Male-presenting | Playing age 35–50 | Baritone, B2–C4 | Father of Elsa and Anna. A stern but well-meaning ruler who believes isolation is the safest way to protect his daughters. Requires a commanding presence and authoritative stage demeanour. Pabbie | Male-presenting | Adult/open playing age | Ab2–Gb4 | One of the leaders of the Hidden Folk. Mystical, wise, and deeply connected to the earth’s magic. Requires strong choral blending and soulful solo work. Bulda | Female-presenting | Adult/open playing age | Bb3–D5 | One of the leaders of the Hidden Folk. Mystical, wise, and deeply connected to the earth’s magic. Requires strong choral blending and soulful solo work. Young Elsa | Female-presenting | Playing age 9–12 | A3–E5 | Typically around 145cm or shorter | The elder princess as a child. Bright and poised but already struggling with the expectation to be perfect while suppressing her dangerous magical abilities. Two performers will be cast. Young Anna | Female-presenting | Playing age 7–10 | Bb3–E5 | Typically around 130cm or shorter | The younger princess as a child. Free-spirited, energetic, and devoted to her older sister. She is heartbroken when their close relationship is abruptly severed. Two performers will be cast. Ensemble / Multiple Roles | 18+ | All genders | All vocal types | Versatile singer-actor-dancers portraying the Townspeople of Arendelle, Hidden Folk, Castle Staff, Guards, Coronation Guests, Oaken’s Family, and other featured characters throughout the production.

Title: Newsies Presented By: Communication in Action Genre: Musical Theatre / Youth Production Synopsis: Inspired by the true story of the Newsboys’ Strike of 1899, Newsies follows a group of young newspaper sellers in New York City who take on the city’s powerful publishers. Communication in Action describes the show as a true ensemble production with a large cast, numerous characters, and plenty of featured roles for both girls and boys. Audition Date: Sunday 25 October 2026 Audition Time: Individual audition times are selected after enrolment. Audition Location and Address: Thomas Dixon Centre, 406 Montague Road, West End QLD 4101 Audition Self-Tape Due (if applicable): Alternative times or video auditions can be arranged for students unable to attend the available audition sessions. Contact Jules via the email provided on the Communication in Action website. Audition Requirements: Students must be enrolled and have paid for the Newsies program before auditioning. After enrolment and payment, the receipt includes a link allowing families to select an audition time for Sunday 25 October. An optional two-day Newsies Audition Masterclass is available on Sunday 11 and Sunday 18 October, 9:00am–11:30am at the Thomas Dixon Centre. It covers singing and vocal performance, dance and movement, acting and characterisation, audition technique, confidence, and stage presence. Attendance at the masterclass is not required to audition. Audition Registration: Newsies Enrolment & Audition Information Performance Dates: Saturday 16 January 2027 Performance Times: 2:00pm & 5:00pm Performance Location: Talbot Theatre, Thomas Dixon Centre, West End Rehearsal Dates: Sunday 13 December 2026 Monday 14 December 2026 Tuesday 15 December 2026 Monday 11 – Saturday 16 January 2027 Rehearsal Times: December rehearsals – 9:00am–3:00pm January rehearsal/performance week – 9:00am–3:00pm Some cast members may be required until 5:00pm, with individual call times advised after casting. Students are asked to attend all December rehearsals wherever possible, although Communication in Action can accommodate pre-existing December holidays or commitments if these are disclosed. The 11–16 January rehearsal and performance week is compulsory for all cast members. Performer Age: Open to students in Year 4 and above in the 2027 school year. Creative Team: Director – Tim Hill Choreographer – Justin Anderson Vocal Coaches – Jacqui Devereux & Sophie Moman Production Website: Communication in Action – Newsies Summer Holiday Production Other information: The participation fee is $600 + GST ($660 total). This covers the complete nine-day program, specialist musical theatre tuition/rehearsals, and two performances. Families can pay $660 in full on enrolment or two instalments of $330, with the second payment due by 11 December 2026. The optional audition masterclass costs $150 for both sessions or $75 for one session. Available Roles/Character Breakdown: Jack Kelly - The charismatic leader of the Manhattan newsies. Jack is a streetwise, fiercely loyal dreamer who longs to leave New York for a better life out West. Protective of his fellow newsies, particularly Crutchie, he combines confidence and toughness with considerable vulnerability. A major singing, acting, and movement role requiring strong stage presence and a contemporary/pop musical theatre sound. Katherine Plumber - An ambitious young reporter determined to establish herself as a serious journalist. Katherine is intelligent, quick-witted, resourceful, and confident, and becomes both an important supporter of the strike and Jack's romantic interest. Requires strong vocals, clear diction, comic timing, and chemistry with Jack. Crutchie - Jack's best friend and one of the Manhattan newsies. Crutchie uses a crutch and lives with a physical disability but is defined much more by optimism, humour, resilience, and loyalty. Davey - A bright, responsible newcomer to the newsies who begins selling papers with his younger brother Les to help support their family. Strong singing and acting role with movement. Les - Davey's cheeky younger sibling. Clever, charming, confident, and immediately fascinated by the newsies' independent lifestyle, Les quickly discovers a natural talent for selling papers. The performer should read noticeably younger than the other newsies. Joseph Pulitzer - The powerful publisher of the New York World whose decision to increase the price the newsies pay for their papers sparks the strike. An imposing businessman and Katherine's father who becomes Jack and the newsies' principal adversary. Medda Larkin - A successful Bowery performer and friend of Jack who provides the newsies with support and a safe haven. Warm, confident, astute, and larger than life, Medda is a strong singer with plenty of personality and comic flair. Spot Conlon - The formidable leader of the Brooklyn newsies. Spot has a big reputation despite limited stage time and arrives as an important ally during the strike. Requires confidence and strong stage presence. Wiesel ("Weasel") - Runs newspaper distribution for Pulitzer and has little sympathy or patience for the newsies. He relies on the Delancey brothers as his muscle. Oscar & Morris Delancey - Brothers who work for Wiesel and act as intimidating enforcers against the newsies. Physical character roles that function as antagonists throughout the story. Snyder - The intimidating warden of the Refuge, the juvenile detention centre from which Jack has escaped. Primarily an acting role. Governor Theodore Roosevelt - The Governor of New York and an important figure in the resolution of the newsies' struggle. A featured acting role. Ensemble - Energetic ensemble roles with extensive singing and movement, with opportunities for featured lines, solos, dance, and individual characterisation.

Title: Much Ado About Nothing Presented By: Centenary Theatre Group Genre: Shakespearean Comedy Synopsis: One of Shakespeare’s wittiest and most entertaining comedies, Much Ado About Nothing centres on love, deception, misunderstanding, and the battle of wits between Beatrice and Benedick. Centenary Theatre Group will use Shakespeare’s original text in an updated setting. Audition Date: Sunday 18 October 2026 Audition Time: 10:00am–2:00pm Audition Location and Address: Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD 4068 Audition Requirements: Each auditionee must prepare, memorise, and perform a Shakespearean monologue of their own choosing. Auditions will also include cold reads from the script. Auditionees should be familiar with the story of Much Ado About Nothing before attending. There are opportunities for male and female performers to be considered for some of the same roles, as indicated by the M/F designations in the character breakdown. Audition Registration: No formal registration process is specified on the audition notice. For audition enquiries, contact Director Alison Lees at AlisonLees4305@gmail.com. Performance Dates: 12, 13, 19, 20, 21, 26, 27 & 28 February 20275, 6 & 7 March 2027 Performance Location: Centenary Theatre Group / Chelmer Community Centre15 Queenscroft Street, Chelmer QLD 4068 Rehearsal Dates: Rehearsals will take place throughout November and December 2026 and January 2027. Auditionees are specifically asked not to audition if they are unavailable for rehearsals during these months. Rehearsal Times: Three rehearsals per week, consisting of two weeknights and one weekend day. Exact days and times are not specified. Rehearsals will take place at Centenary Theatre Group in Chelmer. Creative Team: Director – Alison Lees Production Website: Centenary Theatre Group – Auditions Other information: Some roles may be doubled where necessary. General enquiries can be directed to enquiry@centenarytheatre.com.au or 0435 591 720. Available Roles/Character Breakdown: Beatrice Female | Age 35+ An orphan, cousin to Hero, and niece to Leonato. Benedick Male | Age 35+ A Captain in the Prince’s army. Claudio Male | Age 25+ A Lieutenant in the Prince’s army. Hero Female | Age 18+ Daughter of Leonato. Don Pedro Male | Age 40+ A local Prince and Major in the army. Leonato Male/Female | Age 50+ Local Mayor and parent to Hero. Don John Male/Female | Age 40+ A villain and step-sibling to the Prince. Antonio Male/Female | Age 50+ Sibling of Leonato and uncle/aunt to Hero. Borachio Male | Age 30+ A villain and follower of Don John. Sometimes the lover of Margaret. Conrad Male | Age 30+ A villain and follower of Don John. Margaret Female | Age 30+ Maid to Hero. Ursula Female | Age 40+ Maid to Hero. Balthazar Male/Female | Any age Servant to Leonato. Performer must be able to sing and play an instrument. Friar Male | Age 30+ Local minister. Sexton Male/Female | Age 40+ Local Justice of the Peace. Messenger Male/Female | Young A messenger role.

Title: The Hunchback of Notre Dame Presented By: Savoyards Musical Comedy Society in collaboration with Redland Performing Arts Centre Genre: Musical / Gothic Drama Synopsis: Based on Victor Hugo’s novel and featuring songs from the Disney animated film, The Hunchback of Notre Dame combines Alan Menken and Stephen Schwartz’s Academy Award-nominated score with additional songs and a book by Peter Parnell incorporating passages from Hugo’s novel. In fifteenth-century Paris, Quasimodo, the bell-ringer of Notre Dame, longs to escape the cathedral and experience the outside world. Kept isolated by his controlling guardian, Archdeacon Dom Claude Frollo, Quasimodo ventures out during the Feast of Fools and meets Esmeralda, a young Romani woman who shows him compassion when others do not. Esmeralda also attracts the attention of Captain Phoebus and Frollo, whose obsession leads him to persecute Paris’s Romani community. Audition Date: Friday 16 – Monday 19 October 2026 Audition Time: Friday 16 October – 7:30pm–10:30pm individual auditions; movement call 8:30pm–9:00pm Saturday 17 October – 1:00pm–9:00pm individual auditions; movement calls 2:30pm–3:00pm and 7:00pm–7:30pm Sunday 18 October – 9:00am–12:00pm individual auditions; movement call 10:30am–11:00am; Choir auditions 1:00pm–5:00pm Monday 19 October – 6:30pm–10:30pm individual auditions; movement call 8:30pm–9:00pm Audition Location and Address: Wynnum West State School, entry via School Road, Wynnum West Audition Requirements: Stage Cast – named characters and Congregation: Complete a private 10-minute individual audition and a group movement call of approximately 30 minutes. Prepare 32 bars of a musical theatre song that is not from the show and showcases both your vocal and storytelling abilities. Bring a backing track on an AUX-ready device. You will also be asked to perform your chosen song as a monologue. The movement call will explore your ability to work within a group while demonstrating personality, fun, and spontaneity. Arrive 15 minutes early to register and receive an audition number. Choir: Attend a dedicated group choral audition of approximately one hour. After registering, auditionees will receive an excerpt of music to learn and should prepare only the line best suited to their voice type. The material will be reviewed during the audition before being performed in small SATB groups. All auditionees should bring: backing track where applicable, completed audition form including all conflicts, performance history/CV, colour headshot of at least 10cm × 15cm, and clothing/footwear suitable for movement. Headshots will not be returned. Audition Registration: Email auditions@savoyards.com.au with: Name Mobile phone number Role/s you wish to audition for You will receive a confirmation email containing your audition time. If you have not received a reply within three days, contact Savoyards again. Audition Pack: Download Audition Pack Performance Dates: 4–7 March 2027 Performance Times: Thursday 4 March – 7:30pm Friday 5 March – 7:30pm Saturday 6 March – 1:00pm Saturday 6 March – 7:30pm Sunday 7 March – 1:00pm Sunday 7 March – 6:00pm hold/keep available Performance Location: Redland Performing Arts Centre, 2/16 Middle Street, Cleveland QLD Rehearsal Dates: First rehearsal – 1 November 2026 Last rehearsal of 2026 – 9 December 2026 First rehearsal of 2027 – 11 January 2027 Tech rehearsals – 22 February–2 March 2027, including Sitzprobe on 27 February Bump-in – Monday 22 February, if available Bump-out – Monday 8 March, if available A launch event and photoshoot are also planned for November 2026. Rehearsal Times: Sundays – 12:00pm–5:00pm Mondays – 7:00pm–10:00pm Wednesdays – 7:00pm–10:00pm Rehearsals will take place at Wynnum West State School and RPAC Concert Hall and Studio. Successful performers are asked to keep all required rehearsals, performances, and key dates available. Performer Age: Minimum age is 18 years for all performers. Character playing ages range from approximately 20–60. Creative Team: Director – Sherryl-Lee Secomb Musical Director – Geoffrey Secomb Choreographer/Assistant Director – Bec Swain Choral Director – Jacqui Cuny Hall Assistant Musical Director – Chloe Evans Cultural Consultant – Matthew McKenzie Production Website: Savoyards – Auditions Other information: Savoyards is an amateur, volunteer-run theatre company. Financial membership is not required to participate, although performers are encouraged to become members and contribute to the wider activities of the society. The production is guided by a cultural safety plan and Diversity, Equity and Inclusion policies. The team welcomes performers of all backgrounds, identities, and abilities, including BIPOC, LGBTIQA+, gender-diverse performers, and performers with disability. Choir callbacks, if required, will be held Wednesday 21 October. Stage cast callbacks, if required, will be held Thursday 22 October at Savoyards Hall, Ferguson Street, Manly. All auditionees will be notified of their outcome. Casting offers will be communicated by phone, while unsuccessful auditionees will be notified by email. Successful performers are subject to a social media blackout until advised otherwise. Available Roles/Character Breakdown: Quasimodo | Male-presenting | Playing age 20–30 | Vocal range Bb2–Bb4 | The deformed bell-ringer of Notre Dame and Frollo’s nephew and charge. Lonely and obedient to Frollo, Quasimodo has a vivid imagination that brings the cathedral’s bells and gargoyles to life. Shy and uncertain, he quickly befriends Esmeralda and proves himself big-hearted and brave. Dom Claude Frollo | Male-presenting | Playing age 40–50 | Vocal range E2–D4 | Archdeacon of Notre Dame Cathedral. A righteous and imposing man whose devotion to the Church supersedes everything else. Ashamed of his attraction to Esmeralda, he attempts to suppress his desire by persecuting her and the Romani people. Esmeralda | Female-presenting | Playing age 20–30 | Vocal range Eb3–Db5 | A free-spirited young Romani woman who supports herself as a dancer. Independent, strong-willed, and outspoken, she fights for the fair treatment of her community and shows compassion towards Quasimodo. She falls for Phoebus but refuses to surrender herself to Frollo, even when doing so could save her life. Captain Phoebus de Martin | Male-presenting | Playing age 25–40 | Vocal range Ab2–Ab4 | The dashing new captain of the Cathedral Guard. Charming and arrogant, but struggling with trauma from four years of intense battle, Phoebus becomes torn between following Frollo’s orders and doing what he knows is right. He falls for Esmeralda and ultimately defies Frollo. Clopin Trouillefou | Flexible gender | Playing age 30–40 | Vocal range C3–G4 | The King/Queen of the Gypsies, a clever and agile entertainer and Romani leader. Acutely aware of the prejudice and danger faced by the Roma, Clopin is fiercely protective of the community and runs the Court of Miracles with authority. The role particularly calls for presence and personality. Jehan Frollo | Male-presenting | Playing age 20–30 | Vocal range G#2–Eb4 | Claude Frollo’s wild and charming younger brother and Quasimodo’s father. Far less faithful to the Church than Claude, Jehan shares a strong bond with his brother until his rebellious nature creates a fatal rift between them. Florika | Female-presenting | Playing age 20–30 | Vocal range C#4–F5 | Jehan’s Romani girlfriend and Quasimodo’s mother. Father Dupin | Male-presenting | Playing age 40–60 | Vocal range C4–A4A devout priest of Notre Dame Cathedral and stern guardian of Claude and Jehan. Judicial Officer | Male-presenting | Playing age 20–50 | Vocal range G2–E4 Saint Aphrodisius | Male-presenting | Playing age 30–50 | Vocal range B2–E4A stained-glass image that comes to life. Congregation – Stage Ensemble - An ensemble of storytellers portraying a wide range of characters including Roma, gargoyles, statues, soldiers, revellers, parishioners, priests, prostitutes, citizens of Paris, Lieutenant Frederic Charlus, and King Louis XI of France. The Congregation uses dynamic physical storytelling and choreographed movement to bring the world of the musical to life. Choir - A dedicated vocal ensemble forming the musical foundation of the production’s substantial choral score. The Choir remains on stage throughout the performance.