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Title: Community Choir: The Musical Presented By: Cheep Trills Genre: Community Musical Theatre / Comedy / Drama Synopsis: Community Choir: The Musical is a heartwarming and hilarious original musical set in Brisbane, following a quirky community choir accidentally invited to compete in Sydney’s prestigious National Choral Competition. As the choir navigates rivalries, personal struggles, hidden secrets, and song choices, the mysterious “Spirit of the Song” arrives to reveal their deepest truths and fears. Featuring humour, drama, and original music, the show explores themes of unity, love, healing, and self-discovery. Inspired by real stories from the Cheep Trill choir community, the production is proudly performed by local community members, with many performers appearing on stage for the very first time. Audition Dates: Lead Roles - Saturday May 30th, 2026 Mic’d Choir - Sunday May 31st, 2026 Dance Ensemble Workshops - Saturday May 30th, 2026 Sunday May 31st, 2026 Audition Times: Lead Roles - 9AM - 3PM Mic’d Choir - 9AM - 12:30PM Dance Ensemble: 30 May - 3PM - 4PM 31 May - 1PM - 2PM Audition Location and Address: Lead Roles & Dance Ensemble (May 30th): Enoggera, Brisbane Mic’d Choir & Dance Ensemble (May 31st): Camp Hill, Brisbane Audition Requirements: Lead role auditions for: Pete (Southside cast), Harriet (Northside cast), Judith (Northside cast) Mic’d Choir auditions available for Soprano, Alto, Tenor, and Bass performers Dance Ensemble audition consists of a workshop/class; no preparation required Community Choir roles are non-auditioned Flash Mob roles are non-auditioned/self-learning Must meet rehearsal and production availability requirements Audition Registration: Register to audition HERE Audition Pack: Community Choir: The Musical Audition Pack Performance Dates: Northside Cast - September 23rd & 25th, 2026 Southside Cast - September 24th & 26th, 2026 Performance Location: La Boite Theatre, 6 Musk Ave, Kelvin Grove QLD 4059 Rehearsal Dates: June–September 2026 (varies by cast and role type). Rehearsal Times: Weekly Choir Rehearsals: 6:30PM–8:30PM Additional weekend rehearsals and full-day mandatory rehearsals apply Production week rehearsals held during 22–26 September 2026 Rehearsal Location: Camp Hill, Brisbane Wavell Heights, Brisbane Nundah, Brisbane Morningside, Brisbane La Boite Theatre Warnings: Community theatre production; performers are unpaid Mandatory rehearsal attendance required Some rehearsal locations vary No plus-ones, children, or animals permitted unless approved support arrangements are made Long rehearsal and production days required during show week Performer Age:18+ unless accompanied in the same cast by a parent/guardian, in which case performers must be 14+. Creative Team: Direction & Choreography - Belinda Raisin Assistant Choreographer - Laura Purcell Northside Choir Director/Vocal Coach - Emma Dean Southside Choir Director/Music Director - Tony Dean Production Website: Cheep Trills - Community Choir: The Musical Other Information: 11 original songs including a brand-new number Approximate runtime: 80–90 minutes with no interval Production features: 9 lead roles 8-person Mic’d Choir Dance Ensemble 100+ member choir Flash mobs Two casts: Southside and Northside Brisbane Participation fees apply: Choir - $387 Mic’d Choir - $417 Lead Roles - $470 Flash Mob - $110–$160 Financial assistance available through the “Pay It Forward” initiative Available Roles/Character Breakdown: Lead Roles Available: Judith (Northside Cast) – Female-presenting/Femme, middle-aged. Conservative outwardly but deeply passionate underneath. Crushing on fellow choir member Johnno. Strong comedic and emotional role with lead vocals in two songs. Harriet (Northside Cast) – Female-presenting/Femme. Recently divorced, confident but emotionally rebuilding. Features lead vocals in one song plus solo and harmony work. Pete (Southside Cast) – Male-presenting/Masc. Quiet, grieving father reconnecting with music after the loss of his son. Emotional dramatic role with lead vocals in one song. Additional Casting Opportunities: Mic’d Choir (Soprano, Alto, Tenor, Bass) Featured “Fake Bernard” solo moment Dance Ensemble Non-auditioned Community Choir Flash Mob Performers

Six Characters in Search of an Author Ad Astra Theatre Company Playwright: Luigi Pirandello Director: Heidi Gledhill Assistant Director: Colin W. Smith Dramaturg: Desley Martin Costume Design: Helena Trupp Makeup: Cherie McCaffery Sound Design & Composer: Tommi Civilli Lighting Design: Noah Milne Choreographer: Cherie McCaffery Composer: Lucinda Shaw “See us live out our drama.” That line sums up the strange, unsettling bargain Luigi Pirandello asks of his audience. Six abandoned 'Characters' appear at a theatre with an unfinished story, insisting it be told. They do not ask politely. They interrupt a rehearsal, unsettle the room, and drag everyone around them into their family drama. Written way back in 1921, Six Characters in Search of an Author is considered one of the great meta-theatrical works. It is philosophical, existential, intentionally unstable, and extremely wordy. This is not a play that holds your hand and guides you. In fact, it seems to snatch your hand away, stare into the distance, and then launch into another monologue about the nature of truth... The production begins with the stage arranged as a deliberately practical rehearsal area. A white curtain hangs at the back, with a ladder, upright piano, some furniture, and crew members bustling. Before the show even officially begins, we get a peek into the backstage shenanigans with the cast shaking their collective thang to No Scrubs, which makes the later arrival of the grief-stricken Characters seem even more surreal. Dressed in vintage black clothing, with ghostly makeup and a sombre stillness, they look as though they have wandered in from a family crypt in another century. The Director, played by Jonty Hansen, reacts with the exact kind of “what on earth is happening here?” energy I imagine most directors would have if six randoms waltzed into a closed rehearsal and demanded stage time. Hansen brings a wonderfully sassy impatience to the role, giving the Director both comic bite and mounting frustration. That practical exasperation gives the audience something to hold onto. As the Director tries to make sense of the Characters’ demands, Hansen becomes a necessary anchor, balancing disbelief, ego, curiosity, and irritation. His line, “This is all just talk,” landed particularly well, partly because by that point, yes, it very much was. As the Father, Gregory J Wilken has the densest and most verbose material in the play. His character spends much of the show explaining, defending, and reframing himself, as though he might be able to talk his way into redemption if given enough time. Wilken gives weight to that moral discomfort. There is always something uneasy sitting underneath the performance, leaving us unsure whether we are watching a guilty man, a grieving man, or someone who simply needs his version of events to be believed. His performance is impressive, even when the language itself becomes hard to follow. Davis Dingle as the Son brings restraint and tension to a role that could easily disappear beside the louder grief and outrage around him. His presence is notable because he resists the family drama rather than feeding it. That resistance gives the production some of its strongest dramatic friction. Alongside Hansen and Wilken, Dingle helps form a compelling trio of male performances, each representing a different kind of control slowly slipping away. In the role of the Step-Daughter, Emma Kidd brings a burst of volume, vibrancy, and complete chaos to the stage. She refuses to sit neatly within the story, constantly thrusting herself into the spotlight, disrupting, provoking, and demanding that her version of events be heard. Kidd captures the Step-Daughter’s fierce insistence that her truth will not be softened, rewritten, or filtered. This unpredictability sharply contrasts the more subdued nature of the other Characters. There is anger in her performance, but also pain, humour, and a need to take back control of a story that has clearly been told around her, rather than by her. Anna Loren gives the Mother a mournful, haunted quality, existing largely in grief and shame. The two silent children, played by Auden Ryan / Hank Steele and Ammi Johnson / Tia Godbold, add to the uneasy atmosphere simply by being there. Their silence makes them feel more like symbols than children, which suits the strange purgatorial quality of the piece. And then there is Lucinda Shaw as Madame Pace, who arrives like a gypsy diva from another planet. Her costume is fabulous, her presence is deliciously heightened, and her appearance injects a jolt of colour and theatrical excess into the otherwise shadowy world of the Characters. The wider acting troupe, including Jules Berry, Nathan Turner, Frankie Kershaw, Yianni Sines, Carmen O’Connell, Stella Peterson, Alex Flew, Cherie McCaffery, Brock O’Rourke, Grace Swadling, and Liam Olsen, create the necessary contrast between theatrical artifice and lived drama. Their disbelief, ridicule, and gradual absorption into the story help frame the central conflict of the play. The actors within the play watch, judge, imitate, and attempt to reproduce what the Characters insist can never truly be reproduced. I know this is the whole point of the show, but truly, what an actor’s worst nightmare! Imagine trying to rehearse while the character you are playing suddenly comes alive, walks into the room, and starts critiquing your interpretation. Actors already have directors, dramaturgs, reviewers, and their own inner critic to contend with. Director Heidi Gledhill embraces this absurdist side of the work. She places the audience right in the middle of this family squabble that is part rehearsal, part ghost story, and part existential fever dream. The use of silhouette behind the white curtain is one of the production’s stronger visual choices, giving the Characters an otherworldly quality during their attempts to be made real. Technically, the production is intentionally bare. The lighting design by Noah Milne offers some colour work during the staged “scenes”, but for much of the production, the stage remains plainly lit. I can see the logic in preserving the rehearsal-room reality. But for a play so concerned with blurred realities, I did find myself wanting more visual shaping as the world of the Characters began to intrude. Tommi Civilli’s sound design supports the production’s eerie atmosphere well. The sombre underscoring on the piano adds to the atmosphere, with morbid music often accompanying the Characters as they dramatically contemplate their existence. Still, the production’s greatest challenge remains the script itself. Pirandello’s language, translated from Italian, is dense, cerebral, and often repetitive by modern standards. The play somehow manages to feel both fast and slow: fast in the amount of information being thrown at us, and slow in the time it takes to comprehend it. For me, this was a production full of skilled actors in a play I admired more than I enjoyed. That distinction is important. I can definitely appreciate the craft, the performances, the ideas, and the ambition, while also recognising that the script sat outside my personal theatrical taste. The Characters argue that their truth is urgent and undeniable, but I did not always feel absorbed by that truth. At times, the Actors on stage seemed far more drawn into the story than I was as an audience member. I could understand the stakes on an intellectual level, but emotionally, the play often left me feeling a bit detached and distanced. Still, this is a worthy and challenging undertaking by Ad Astra. Six Characters in Search of an Author is not light entertainment, nor is it trying to be. It is a strange, self-aware puzzle about performance, memory, authorship, and the human need to be seen. It asks big questions about whether fiction can be more permanent than reality, whether actors can ever fully embody another person’s pain, and whether being witnessed is the closest thing to resolution some stories ever receive. This production is best suited to drama lovers, passionate playwrights, frustrated directors, theatre theorists, and anyone who enjoys leaving a show with more questions than answers. It may not be for audiences seeking emotional ease or narrative simplicity, but for those who enjoy philosophical theatre with an absurdist edge, there is plenty here to chew on. It went over my head in places. But it was performed with conviction, staged with clear respect for the material, and led by a cast who understood the strange machinery of these Characters: trapped in the theatre, trapped in their story, and desperate for someone to listen.

Chicago: Teen Edition Presented by: Sky Youth Theatre Director: Tahnee Svensk Creative Director: Shelley Wilson Music Director: Cyndi Braeuer Choreographer: Jade Wilson Sound: Tim Pitchford Lighting: TLD Event Creation Costumes: Shelley Wilson, Jess Middler Prop Design: Shelley Wilson, Tahnee Svensk Hair and Makeup: Bek Evans, Jess Middler, Krystle Brant Photography: Alex Darvell I don't know who looked at Chicago and thought, “Yes, let’s give that to a youth theatre!” but after seeing Sky Youth Theatre’s Chicago: Teen Edition, I understood the logic. Because if you've got a troupe of young performers who can dance like this, you might as well give them something to perform with bite! Chicago: Teen Edition is a specially adapted version of the Kander and Ebb musical, tailored for teen performers while keeping most of the story, music, and Bob Fosse style intact. Directed by Tahnee Svensk, with Shelley Wilson as Creative Director, Cyndi Braeuer as Music Director, and choreography by Jade Wilson, this production knew what its cast could do and gave them room to do it. Robina Community Centre is quite expansive. The team used the stage, floor, platforms, and cabaret tables to integrate the entire room into the show. I especially liked the spotlighted dancer moments during "All That Jazz", like little glitzy flashes popping up around the room. It gave us in the audience the sense that we had wandered into a dangerous vaudeville club, feeling slightly complicit from our seats. The role of Velma Kelly was shared by Zahli West and Jessica Turnbull, with West performing the day I attended. She had a still, watchful quality perfect for Velma, using her lower register effectively, speaking confidently, and showcasing impressive acrobatic moves. She gave Velma the cool attitude and self-assuredness the role needs. Her voice also deserves high praise, especially considering how much movement she had to get through. Pulling off I" Can't Do It Alone" while dancing, kicking, cartwheeling, and pretending none of it is hard is on another level. Yet she appeared completely at home in the choreography. I get out of breath just walking up the QPAC stairs, so I do not say that lightly. As Roxie Hart, Alannah Maguire shared the role with Evie Edwards. I caught Maguire's performance, and she gave one of my favourite vocal performances of the show. Her rendition of "Funny Honey" showed off a gorgeous tone, with excellent clarity and control for her age. She also had some wonderful comic moments, particularly in "Both Reached for the Gun", where her puppet-like facial expressions were spot-on. There were moments where her dialogue could have slowed down slightly, and she was occasionally still finding full ease in the heels, but she had a voice that really cut through and that bright little spark Roxie needs. Roxie is basically theatre-kid with a murder charge, and Maguire understood the assignment. Harrison Salter rocked the role of the smooth-talking Billy Flynn, shining extra bright in "Both Reached for the Gun". That number is a real juggling act of timing, vocals, character, and comedy, but he kept all those plates spinning, finishing with a terrific final belt. Kudos to his showgirls too for their killer heel work; their skill reflects their training, as ankles are delicate and the stage can be hazardous! Xavier O’Brien brought a sweet face and beautiful voice to Amos Hart for "Mister Cellophane", with a natural warmth that suited the role. Minnie Bangay had great fun as Mama Morton, with her big belt, growl, and plenty of brass showcased in "When You're Good to Mama", making it clear who was in charge. Hayley Morris was lovely as Mary Sunshine, offering a delicate and steady soprano that gave the show a different vocal colour during "A Little Bit of Good". The Merry Murderesses, Emily Stevens, Hannah Basile, Macey Whelan, Olivia Maslen, and Tilly Fraser, made "Cell Block Tango" into the show’s pièce de résistance. The staging worked well, the choreography had edge, and keeping the vocals going through that much movement is no small thing. I wanted just a little more fury behind the eyes, because these women are, after all, explaining murder through dance. That said, the number already had sizzling fire. Just a little more “he had it coming” rage and it would have really cooked. There were some awesome staging ideas throughout the show. "Roxie" looked amazing, with Maguire rocking a gold flapper dress, lying on a revolving platform surrounded by mirrors, while four male performers framed the scene. Exactly the kind of ridiculous self-worship Roxie would approve of. The trial scene was genuinely hilarious, with the cast really embracing the absurdity. I also loved seeing the ensemble join in for "Hot Honey Rag." It turned the finale into a celebration for the whole cast, not just a final duet. With double casting across the two leading roles, I saw Zahli West as Velma and Alannah Maguire as Roxie, and both gave performances worth celebrating. I have no doubt the alternate cast brought their own strengths to the roles too, which is one of the joys of youth theatre when double casting is used well. What impressed me most about this cast was how well they moved. Many of them appeared to be dancers first, yet their vocal work was evidently well-trained. "Razzle Dazzle" had a lot going on, with sparkly b&w leotards, circus tricks, acrobatics, green/purple lighting, and a starry backdrop. The staging was exceptional, though it needed a little more vocal punch, as there were some breathier moments coming through from the ensemble on and off stage. A few dancers also slipped into "concentration face", which makes total sense with everything going on, but in Chicago, the face is very much part of the choreograph. Fosse is not just about dancing. The wrists are doing one thing, the hips are doing another, and the eyes need to be scheming too. The more I watched, the more the choice of Chicago: Teen Edition made sense for this company. We all know youth theatre has an abundance of girls, and this show actually gave them something substantial to do. It gave space to featured ensemble moments, dance breaks, and character roles without forcing the cast into material that did not suit them. Even with the teen edits, this was still very much Chicago. Visually, the production had plenty to enjoy too. The cell block set was clever and versatile, the music tracks were great, and the lighting by TLD Event Creation helped shape the mood of numbers, especially "Cell Block Tango" and "Razzle Dazzle." The costumes by Shelley Wilson and Jess Middler leaned into flapper shapes, sparkle, fringe, and darkness, while hair and makeup by Bek Evans, Jess Middler, and Krystle Brant gave the cast a cohesive and mature stage look. My one personal quibble was Roxie’s black prison ensemble, which looked beautiful on Alannah Maguire but felt less period-appropriate than the rest of the design. The lace and leather combo felt a little more like clubbing in 2010 than vaudeville vixen to me (sorry!) There were only a few technical bumps, including some missed mic cues and occasional offstage whispering that carried into the audience. Still, what I kept coming back to was the confidence. These young performers tackled a show that asks for stamina, timing, comedy, bold vocals, American accents, heels, and Fosse moves, often all at once. They also did it while working with tracks rather than a live conductor, which takes real focus. Because the track is going where the track is going, and you either keep up or get left behind in jazz jail. Sky Youth Theatre’s Chicago: Teen Edition gave the dancers room to move, the singers room to show off, and the ensemble plenty to do beyond simply filling the stage. For a youth production, this was no tentative little razzle dazzle. It had scale, humour, attitude, and a whole lot of Fosse flair.

Agatha Christie's Witness for the Prosecution Presented by VOX Productions at Metro Arts Director / Producer: Nicky Whichelow Co-Director: Adelle O’Connell Stage Manager: Hazel Evans Lighting Designer: Thomas Ranie Sound Designer: Zoe Power Props Master: Toni Spry Set Design: Scott Lymbery and Nic Scotney Agatha Christie knows exactly how to make an audience start silently accusing everyone on stage. With Witness for the Prosecution, VOX Productions transports us to 1950s London, a world of propriety and secrets. This courtroom drama is built on questions, contradictions, and the unsettling realisation that truth is only as reliable as the person telling it. The play follows Leonard Vole, a young man accused of murdering a wealthy older woman. As his legal team attempts to prove his innocence, the case becomes increasingly tangled by unreliable testimony, murky motives, and the involvement of Leonard’s wife, Romaine, whose evidence threatens to unravel everything. Presented at Metro Arts, this production is directed and produced by Nicky Whichelow, with Adelle O’Connell as co-director. Christie’s mysterious world feels formal and contained, with the audience placed firmly in the position of the jury, watching each witness and wondering who the hell is telling the truth. The pacing follows the natural rhythm of a courtroom: ask, answer, object, reconsider, and then doubt everything. Even during the preview performance, where the cast occasionally stumbled over lines, the story maintained its grip. As Leonard Vole, Reagan Warner delivers another distinctive performance from his growing catalogue of versatile roles. Here, he is a jittery British chap in a sweater-vest and bowtie, breathlessly over-explaining everything. It made me want to reach across the room and whisper, “Please, for the love of the legal system, stop talking!” His scenes keep you unsettled as Leonard rambles, blurts things out, and only digs himself deeper with each attempt to help his own case. Leonard could be either an innocent yet naïve victim of an unfortunate coincidence or a cunning liar who knows exactly how to play the innocent; Warner's performance makes both scenarios equally believable. David Hill gives Sir Wilfrid Robarts the composed authority of a man who has spent years untangling people’s messes for a living. Paul Hynes complements him well as Mr. Mayhew, a smart, sharply dressed solicitor with an air of professional concern. Together, they form an unflappable legal duo, always striving to stay one step ahead of everything. Across the courtroom, Luke Friedman stands out as Mr. Myers, giving the prosecuting barrister a biting energy and a streak of sass. His delivery carries a sly theatricality, as though every pointed phrase has been sharpened and presented on a silver tray. Wayne Hinton lends The Judge an iconic vocal quality, with shades of Churchill in his command, weight, and old-school authority. As Romaine Heilger Vole, Sandy Adsett is excellent. She speaks like an Eastern European spy — calm, swift, and ruthlessly straightforward. There are no hysterics, no theatrical pleading, no easy emotional cues for the audience to cling to. Instead, her poker face is her superpower. On the stand, with her eyes lowered, Adsett portrays both layers: Romaine as a witness providing evidence and Romaine as a witness potentially acting. This story is about the witness... not the victim, or the prisoner, or barrister in the fancy wig. The supporting cast fills out Christie’s world with strong character detail. Toby Chittenden is wonderfully apt as Inspector Hearne, the classic Cockney copper of 1950s Scotland Yard. David Scholes makes the most of every moment as Dr. Wyatt, intentionally stammering his way through testimony and cross-examination with enjoyable specificity. Liz Hull brings Janet Mackenzie to life with a thick character accent and her nose held high. Among the polished legal men, she feels practical, watchful, and entirely capable of holding her own. John Grey brings neat comic precision to Mr. Carter, making his particular habits and orderliness amusing without letting them take over the scene. Kailan Tyler-Moss is bright and starry-eyed as Greta, offering a lovely contrast to the very serious legal minds around her. Kip Jeffree gives the courtroom its sense of ritual and order as the Court Clerk, while Marisa Bucolo adds another shadowy thread to the mystery in an ambiguous role that reminds us that, in Christie’s world, nobody appears without a reason. The design keeps the production functional and clear. Scott Lymbery and Nic Scotney’s set moves between the law office and courtroom with simple, recognisable pieces, including a faux fireplace for the chambers and courtroom benches that quickly place us in the formal world of British justice. It does not overcomplicate the space, which is wise for a text-driven play where the real spectacle is the evidence being rearranged in front of us. Thomas Ranie’s lighting design helps separate the shifts between private legal conversation and public courtroom scrutiny. Zoe Power’s sound design adds a thoughtful layer of atmosphere, particularly through the jazzy pre-show and transition music. At the preview, some of the sound effects sat too loudly in the mix, but the team seemed immediately aware of this. The added audience reaction effects are also less necessary, particularly because we are directly addressed as the jury and the real audience is already reacting plenty. Christie’s twists do not need help landing. What is especially interesting watching Witness for the Prosecution now is how much the play reveals about the assumptions of its own world. Evidence is harder to ascertain. Reputation carries enormous weight. Nationality, wealth, gender, and perceived respectability all influence how characters are judged before they have even started speaking. Prejudice sits clearly in the room without flattening the play into a lecture. Instead, it becomes part of the machinery of the mystery. Who is believed? Who is dismissed? Having not seen an Agatha Christie in some time (and this being only my fourth Christie play overall), Witness for the Prosecution reaffirms why her work remains so theatrically satisfying. It is not just about the twists. I adore her wit, her humour, and her ability to make every answer feel like the beginning of another question. Witness for the Prosecution is a slippery courtroom drama where loyalty is questionable, prejudice sits uncomfortably close to justice, and truth depends entirely on who is holding the floor. VOX Productions gives Christie’s classic mystery a confident staging, a strong ensemble, and central performances that keep the audience guessing right up to the final turn.

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

The Female of the Species 7 – 16 May 2026 Written by Joanna Murray-Smith Produced by Cut and Run Productions as a co-production with PIP Theatre Director – Lara Rix Assistant Director – Aoife Kissane Stage Manager & Sound Designer – Hannah Page Lighting Designer – Claire Yorston Costume Designer – Kiah Latham Photography - Jasmine Prasser "Women want two things from a man: fantastic foreplay and doing the tax." Never meet your heroes. Especially if you intend to bring a gun and turn their peaceful countryside writing getaway into a feminist hostage situation with a side of family therapy. Joanna Murray-Smith’s The Female of the Species is a satirical comedy about feminism, fame, motherhood, ego, and the disconnect between the values we preach and the lives we actually lead. Staged in 2008 by Queensland Theatre Company, Cut & Run Productions and PIP Theatre revives it with an entertainingly bold approach. Inspired loosely by Germaine Greer's real-life incident of being held at gunpoint by a student, the play centres on famous feminist writer Margot Mason (hello alliteration!), who is struggling with a spectacular bout of writer’s block. Known for her provocative persona and intellectual fearlessness, Margot’s carefully curated authority begins to crack when former student Molly Rivers visits her home with a gun and a very personal grievance. Molly blames Margot’s notorious book, The Cerebral Vagina, for her mother’s death, and what begins as a confrontation between idol and devotee quickly escalates into a farcical reckoning. From there, more characters are unlocked: Margot’s exhausted daughter Tess barges in, looking like she just survivd a toddler apocalypse, and immediately jumps to the conclusion that her mum is having a Fifty Shades moment with the handcuffs. Hot on her heels is her bewildered husband Bryan. Then comes Frank, a disgruntled Uber driver with grievances of his own, and finally Theo, Margot’s publisher, who appears as if summoned by the scent of drama. Having originally appeared in QTC's 2008 production as Molly Rivers, Francesca Savige now comes full circle by stepping into the slippers of Margot Mason. Her Margot is a cocktail of eloquence, vanity, bluntness, drama, and just a tad bonkers. Even when her blocking is restricted by handcuffs, Savige fills the room with undeniable presence. She has a terrific grip on Murray-Smith’s language, tossing out Margot’s interruptions and declarations with the confidence of a lecturer who expects the room to take notes. Her lines are delivered with such pristine self-importance that it makes you want to both applaud her and confiscate her fountain pen. She is insufferable in the most entertaining way, but Savige also lets us glimpse the panic beneath the polish. When Margot admits, “What if I’ve said all I have to say?”, the legendary provocateur is simply a writer facing the scary possibility that her well of inspiration has run dry. Michaela Faux is fantastic as Molly Rivers, the former student whose admiration for Margot has curdled into something dangerous. Molly just shows up unannounced, fawning and chatting as though she and Margot are old friends. She is clearly volatile, but also oddly sweet, awkward, intelligent, and far less certain than her plan suggests. She quotes Margot back to herself like scripture, carrying fanatical reverence and traumatic grief in the same breath. Because beneath the chaos is a wounded young woman trying to make sense of her mother’s abandonment, death, and the damage left behind. What I enjoyed most is how Molly becomes strangely absorbed into this household dynamic, becoming a mix of captor and accidental emotional support. Rebecca Day is an absolute hoot to watch as Tess, Margot’s 'oops' daughter, whose entrance sends the play into a different but equally frantic gear. Tess arrives already frazzled, having fled the overstimulating noise of her three young tornadoes only to get stuck in an Uber with a guy telling her his life story. I kept catching myself watching her antics in the background of every scene. Her line, “I am an exhausted, miserable woman with a question mark at the centre of my identity,” captures the ache beneath all that theatrical exasperation. This is a woman drowning in domestic mayhem, desperate to be seen as more than everyone else's problem-solver. The trio of women is especially strong together. Savige, Faux, and Day bounce off each other with fantastic rhythm, forming a strange little triangle of ego, grief, resentment, admiration, and shared female fatigue. As Bryan, Josh Whitten quickly becomes a personal favourite. Bryan could easily be played as a standard clueless husband, but Whitten adds a sincerity that makes him deeply endearing. He has the energy of a man trying politely to catch a train that has already left the station. What makes Whitten so hilarious is that Bryan keeps trying to be helpful in the most Bryan way possible. In a room full of people using theory, trauma, and resentment as weapons, Bryan's gentle nature is a refreshing little pocket of softness. Peter Hatton brings a another whirlwind of energy as Frank, the Uber driver who's fed up with life, feminists, older folks, and anything else that annoys him. Frank’s entrance widens the play’s argument beyond Margot’s family and into a broader social shouting match. He bursts in with barely a blink at the hostage situation, as though walking into a room with a gun, handcuffs, and several emotionally unstable strangers is simply another day in customer service. He has the passion of a man who has been waiting for an audience and, unfortunately for everyone, has finally found one. Then Danny Brown arrives as Theo, Margot’s publisher, who lives for the drama, partly because he knows it might help sell books. Margot has not been answering his calls. Rude of her, really, considering she is only handcuffed to a table in an armed confrontation. Theo exudes the energy of a man who hears the word “hostage” and thinks “networking opportunity.” Brown gives him a sparkling theatricality, but keeps the observations sharp and the timing crisp. Together, the cast gives the play its engine. These are experienced performers who know how to handle Murray-Smith’s pace, wit, and sudden pivots with ease. It is farce, debate, family therapy, identity crisis, and intellectual cage fight all at once. Under Lara Rix’s direction, the production moves like a pressure cooker: tightly contained, rapidly heating, and always one careless moment away from blowing its lid. Rix keeps the debate intelligent without ever letting it become dry. The comedy waltzes between physical, verbal, and situational absurdity. The endless game of hot potato with the gun and handcuffs is one of the funniest devices of the show for me; like a pass-the-parcel where the prize is potential legal consequences. The staging also makes clever use of proximity. With the audience seated on two sides, we are close enough to catch the smallest reactions and shifts in power. This suits the play beautifully, because so much of the comedy lives in watching people recalibrate in real time: who has the gun, who has the moral high ground, who is winning the argument, and who has just made everything worse? The set places us inside Margot Mason’s world: a towering wall of bookshelves filled with hundreds of colour-coded books. It is beautiful, imposing, and I totally want it. Margot’s country home screams intellctual uperiority, telling us exactly who she is before she even opens her mouth. This is not just a home; it is a shrine to her own brilliance. Sound and lighting are meticulously timed throughout, particularly the bursts of red that heighten the danger at just the right times. What makes this production so enjoyable is that it understands the play is not really asking us to crown one correct person. Everyone is offloading onto each other. Everyone has a point. And everyone's also being completely ridiculous. Margot has built a career on provocation but flounders when provoked. Molly wants justice but really, I think she is just lonely. Tess wants to be understood but does not even understand herself. Bryan is trying to help but cannot fully read the room. Frank is looking for someone to listen. Theo wants to save his own arse. The result is a theatrical pile-up of ideology, ego, gender politics, generational trauma, and brilliant one-liners. Murray-Smith’s script is packed with killer dialogue, and this cast delivers it with terrific clarity and rhythm. It explores what happens when feminism becomes a brand, when motherhood becomes an identity crisis, when grief searches for a villain to blame, and when public thinkers are treated as personal prophets. It is satire with claws, but this production keeps it fun rather than didactic. Cut & Run Productions delivers a lively, intelligent, and completely hilarious revival of The Female of the Species. It is performed by a cast who clearly relish the script’s wit and absurdity, and the whole thing is directed with a great sense of humour and humanity. The ending is a banger, and I will not spoil it, except to say that the play knows exactly when to pull one final rug.

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

Title: Disney’s Frozen JR Presented By: Second Star Youth Theatre Genre: Musical Theatre / Youth Theatre Synopsis: Based on the beloved Disney film and Broadway musical, Frozen JR tells the story of sisters Anna and Elsa as they navigate love, fear, family and self-acceptance in the kingdom of Arendelle. Featuring iconic songs, magical storytelling and a large ensemble, this 60-minute adaptation is designed especially for young performers. Audition Date: Sunday 14 June 2026 Audition Time: 1:00pm – 5:00pm Audition Location and Address: Faith Works Norman Park, 177 Bennetts Road, Norman Park QLD Audition Self-Tape Due (if applicable): Video auditions accepted for performers unavailable for the in-person audition workshop. Audition Requirements: No preparation required Auditions are run as an audition workshop using the iTheatrics method Participants will learn ensemble material on the day and perform for the creative team Auditions focus on singing, acting, movement, collaboration and responsiveness to direction All who audition will be cast Audition Registration: Register here: https://docs.google.com/forms/d/e/1FAIpQLScg681atzNS5VbY2Ma3uhBLCM9qyPsShXlq404lTs_srRrQjg/viewform Performance Dates: Saturday 11 July 2026 Performance Times: 3:00pm and 6:00pm Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School, Holland Park QLD Rehearsal Dates: Monday 6 July – Friday 10 July 2026 Rehearsal Times: 9:00am – 4:00pm daily Performer Age: 10–18 years old (as of 11 July 2026) Creative Team: Director & Music Director – Lauren McNamara, Choreographer – Sonya Wyer Production Website: https://www.secondstaryouththeatre.com.au/frozenjr Other information: Participation fee: $450 (incl. GST) Includes audition workshop, rehearsals, production t-shirt, script, dinner on performance day and costume hire Most costumes provided by the company Limited cast places available Payment due prior to audition submission date All performers who audition are guaranteed a place in the cast Video auditions available for those unable to attend in person Participation subject to company policies including Code of Conduct and Child & Youth Risk Management policies Available Roles/Character Breakdown: Anna - Warm, optimistic and energetic princess with strong comedic and emotional range. Vocal range: G3–D5. Elsa - Reserved and powerful queen struggling to control her magic. Requires emotional maturity and strong vocals. Vocal range: F#3–D5. Kristoff - Lovable ice harvester with dry humour and warmth. Strong acting and scene partner work required. Vocal range: G2–A3. Olaf - Joyful magical snowman with excellent comedic timing and physicality. Vocal range: F#2–D4 (or F#3–D5). Hans - Charming prince with a darker side. Strong singer and actor. Vocal range: G2–B3. Sven - Kristoff’s loyal reindeer companion. Strong physical performer role with minimal singing. Young Anna / Middle Anna - Playful and excitable younger versions of Anna. Young Elsa / Middle Elsa - Gentle and protective younger versions of Elsa requiring emotional restraint. Oaken - Larger-than-life comedic shopkeeper. Pabbie & Bulda - Warm and quirky Hidden Folk guardians with featured singing and movement. Featured Roles: Weselton King Agnarr Queen Iduna Bishop / Palace Staff Ensemble - Includes townspeople, castle staff, hidden folk, snow chorus, coronation guests and more. Many opportunities for featured moments and solo lines.

Title: 13 The Musical Presented By: Passion Productions Genre: Musical Theatre Synopsis:13 The Musical is the heartfelt and hilarious pop-rock musical by Jason Robert Brown that follows Evan Goldman, a New York teen whose life is turned upside down after his parents’ divorce forces him to move to small-town Indiana just before his Bar Mitzvah. As Evan navigates friendship groups, crushes, bullying and social drama, he discovers what truly matters when everything begins to fall apart. The production features an entirely teenage cast and band. Audition Date: Saturday 27 June 2026 Audition Time: 10:00am – 6:00pm Audition Location and Address: Northgate Hall (Address available through audition registration) Audition Requirements: Prepare two contrasting musical theatre songs (30–45 seconds each): One upbeat song One ballad Dance component will be taught briefly on the day, but auditionees are encouraged to familiarise themselves with the provided videos beforehand Cold reads may be requested during auditions or callbacks Auditions will be held in group sessions of approximately 60 minutes. Registration is essential Audition Registration: https://airtable.com/appdAz6BKXZweUC7h/pagjNGQvWnBKa3bJe/form Audition Pack: https://www.passionproductions.com.au/_files/ugd/ac9999_da382c6a33d948cdaf8e279efaf71d1e.pdf Performance Dates: 25 September – 3 October 2026 Rehearsal Dates: Beginning 11 July 2026 Rehearsal Times: Tuesdays: 6:30pm – 10:00pm Thursdays: 6:30pm – 10:00pm Saturdays: 10:00am – 4:00pm Rehearsal Location: Strathpine Community Centre and Petrie School of Arts Performer Age: 12-17 Production Website: https://www.passionproductions.com.au/auditions Other information: Callbacks: Sunday 28 June 2026 from 6:00pm at Northgate Hall (if required) Some performers may be cast without callbacks This is a community theatre production No performer payment No production fees All cast members over 18 must hold or obtain a Blue Card before rehearsals begin Cast members are expected to assist with social media promotion Passion Productions strongly encourages performers of all backgrounds, identities and abilities to audition Available Roles/Character Breakdown: Evan Goldman – Tenor (Bb2–Bb4) Bright, charming and good-hearted New York teen navigating a new town, family upheaval and his upcoming Bar Mitzvah. Patrice – Mezzo Belter (Eb3–E5) Shy, intelligent and grounded. A loyal friend with strong convictions and a crush on Evan. Archie – Tenor (Ab2–Bb4) Funny, insightful and theatrical. Lives with muscular dystrophy and uses crutches. Brett – Tenor + Falsetto (Bb2–C5) The arrogant and popular football star who bullies outsiders. Lucy – Mezzo (F#3–D5) Manipulative cheerleader determined to steal Brett from Kendra. Kendra – Mezzo (Bb3–D5) Popular, bubbly head cheerleader struggling with social pressures. Malcolm – Baritenor + Falsetto (F#3–C5) Brett’s eager sidekick and football team member. Eddie – Baritone + Falsetto (Bb2–C5) Another of Brett’s sidekicks, loving his social status. Cassie – Soprano Belter (F#3–F5) Fashion-forward cheerleader and gossip enthusiast. Charlotte – Mezzo Belter (A#3–F5) Loveable and gullible cheerleader. Molly – Mezzo Belter (F#3–C#5) Confident rumour-starter who enjoys chaos. Richie – High Tenor + Falsetto (A2–C5) Explosive, goofy and highly social class clown. Simon – Tenor (C2–C5) Quiet football team member often caught in the middle. Ensemble - Strong vocal and movement ability required.

Title: Hadestown: Teen Edition Presented By: BG Performing Arts Genre: Teen Musical Theatre Workshop Synopsis: Blending folk, jazz and blues with poetic storytelling, Hadestown: Teen Edition retells the myth of Orpheus and Eurydice, following a young musician who journeys to the underworld in an attempt to rescue the woman he loves. Set in a world of gods, workers and dreamers, the story explores love, hope and the courage to keep believing in dark times. Audition Date: Sunday 7 June 2026 Audition Time: 12:30pm – 5:30pm Audition Location and Address: BG Performing Arts Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video submissions available by arrangement for those unable to attend in person. Audition Requirements: Character/featured role auditions are optional. Attendees will participate in vocal, acting and dance sessions. Dance components will be taught on the day. Students are encouraged to learn songs off by heart and become familiar with the acting sides in advance. Wear comfortable clothing and enclosed shoes suitable for dancing. Bring water, snacks, appropriate shoes and a sweat towel. Audition Registration: https://docs.google.com/forms/d/e/1FAIpQLSehofWn_JFLLGufwiSJrGiLajcl2eFMZVa7C-cKsNe2hlYpKg/viewform Audition Pack: Try Out Pack available from Sunday 10 May via BG Performing Arts website. Performance Dates: Saturday 11 July 2026 Performance Times:2:30pm & 7:00pm Performance Location: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178 Rehearsal Dates: Monday 6 July – Saturday 11 July 2026 Rehearsal Location: Monday–Thursday: BG Performing Arts Bowen Hills Studio, 12 Jamieson Street, Bowen Hills Friday–Saturday: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly Warnings: Themes include death, the underworld, poverty, exploitation and grief. Performer Age:14–18 years. Participants must be at least 14 years old by the performance date. Production Website: https://www.bgperformingarts.com/audition-information-hadestown Other information: Workshop cost: $400 Additional costume hire fee may apply once cast is finalised Workshop fee covers rights, royalties, insurance, technical/creative staff, set, props and venue hire Ticket price: $30 for ages 3+ Email info@bgperformingarts.com for video submission enquiries Available Roles/Character Breakdown: ORPHEUS: High Tenor with falsetto up to G#5. Orpheus is an optimist, an idealist, a counter-culturalist. Orpheus should feel unique and have the sensitive soul of an artist. Plays guitar. HADES: Bass. Lord of the Dead. Powerful, immortal and deeply in love with Persephone. Strong authoritative presence. Tyrannical and a bit menacing. PERSEPHONE: Alto/Mezzo. Goddess, playful, mercurial and fun. Persephone is not too feminine and lets her sharp edges show. She is the seasons and is cut from the same cloth as Orpheus. She must have a wryness and intelligence that she uses sharply for both entertainment and as a defense mechanism. HERMES: Tenor/Baritone. Hermes is the narrator/guide/emcee of the story. Charismatic, often mysterious, with a trickster-ish quality. EURYDICE: Alto/Soprano. A practical leading heroine with an extremely vulnerable underbelly, a haunted bird. She takes the leap to the underworld as a step towards something reliable. There is both toughness and delicacy in her being and her singing; she uses a belt for some songs, real subtlety for others. FATE 1, FATE 2, FATE 3: Powerful and dark. Operate as one of the “voices in the heads” of the other characters. Fates may play instruments of some kind and should be skilled with harmonies. WORKERS: The workers’ ensemble populates the world above and below ground, representing the spirit of both labor and community.

Title: Madagascar: A Musical Adventure JR. Presented By: BG Performing Arts Genre: Junior Musical Theatre Workshop Synopsis: Madagascar: A Musical Adventure JR. follows Alex the lion, Marty the zebra, Melman the giraffe, Gloria the hippo and the penguins as they escape New York’s Central Park Zoo and find themselves on an unexpected adventure. This youth workshop production is designed to build confidence, performance skills and stage experience in a nurturing and fun environment. Audition Date: Sunday 7 June 2026 Audition Time: 9:00am – 12:00pm Audition Location and Address: BG Performing Arts Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video submissions available by arrangement for those unable to attend in person. Audition Requirements: Character/featured role try-outs are optional. Attendees will participate in vocal, acting and dance sessions. Dance will be taught on the day. Students are encouraged to learn songs and monologues from the try-out pack in advance. Wear comfortable clothing and enclosed shoes suitable for dancing. Bring water, snacks, appropriate shoes and a sweat towel. Audition Registration: https://docs.google.com/forms/d/e/1FAIpQLSehlu0lP52pQ2LQYaGn2UT6f6zNWjVmOv12_aftcXdqhdsA-w/viewform Audition Pack: Try Out Pack available via BG Performing Arts website. Performance Dates: Saturday 4 July 2026 Performance Times: 2:00pm & 6:00pm Performance Location: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178 Rehearsal Dates: Monday 29 June – Saturday 4 July 2026 Rehearsal Location: Monday–Thursday: BG Performing Arts Bowen Hills Studio, 12 Jamieson Street, Bowen Hills Friday–Saturday: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly Performer Age: 6–13 years. Participants must be at least 6 years old by the performance date. Production Website: https://www.bgperformingarts.com/audition-information-madagascar-2026 Other information: Workshop cost: $400 Additional costume hire fee may apply once cast is finalised Workshop fee covers rights, royalties, insurance, technical/creative staff, set, props and venue hire Ticket price: $30 for ages 3+ Email info@bgperformingarts.com for video submission enquiries Available Roles/Character Breakdown: Alex the Lion: The main attraction at the Zoo and "The King Of New York." He is a confident showman, but loyal friend. Marty the Zebra: Curious, restless, and adventurous. Marty is Alex's best friend who desires to explore beyond the zoo's confines. Gloria the Hippo: A bold, confident, and maternal young lady who often acts as the group's protector. Melman the Giraffe: A timid, kind-hearted hypochondriac who is always nervous about his health. Skipper: The commanding captain, quick to give orders. Kowalski: Skipper’s diligent second-in-command. Rico: The tough, karate-chopping penguin of the group. Private: The cute and fuzzy penguin, responsible for keeping up appearances. King Julien: The energetic, self-proclaimed King of the Lemurs. A high-comedy role requiring strong acting and dance. Maurice: King Julien's cynical assistant who is less than welcoming to newcomers. Mort: The incredibly small, cute, and slightly dimwitted lemur. Lynn, Lew, Lee, and Lars: Fun, energetic lemurs in King Julien's entourage. Mason: An intelligent, sophisticated chimpanzee who takes his species' reputation personally. Zookeepers (Zelda, Zeke, Zoe): Enthusiastic employees who introduce the animals to the public. The Foosa: Cat-like, hungry predators, often portrayed by a versatile ensemble. New Yorkers / Zoo Animals: Ensemble roles for New York police officers, subway commuters, an old lady, and zoo guests

Title: The Unfortunates Presented By: Staged Theatre Genre: Drama / Historical Ghost Story Synopsis: Set in Victorian London during the time of the Whitechapel murders, The Unfortunates follows Mary Jane Kelly as she struggles to survive poverty, exploitation, and danger in 1888 London. As Jack the Ripper stalks the streets, Mary faces impossible choices involving betrayal, survival, and the harsh realities faced by women of the era. The play is a dark, intimate ghost story exploring systemic oppression, friendship, grief, and survival. Audition Date: Wednesday 27 May - Thursday 28 May 2026 Audition Time:7:30pm both evenings Audition Location and Address: St. Mark’s Church Hall, Buderim Audition Requirements: Open auditions. Scripts will be provided on the day. Audition Pack: https://www.stagedtheatre.com/shows-events Performance Dates: Friday 28 August 2026 – Saturday 5 September 2026 Performance Times: Friday performances: 7:30pm, Saturday matinees: 2:00pm, Saturday evening performances: 7:30pm Rehearsal Times: Wednesday and Thursday nights Rehearsal Location: St. Mark’s Church Hall, Buderim Warnings: Coarse language, references to sex work, murder, violence, adult themes, alcoholism, themes of systemic exploitation and misogyny. Performer Age: 18+ Creative Team: Directors: Peta Beattie & Lauren Willett Playwright: Aoise Stratford Other information: Amateur production presented by arrangement with ORiGiNTM Theatrical on behalf of Theatrical Rights Worldwide Seeking 6–10 actors to play solo and multiple roles Set in Whitechapel, London, 1888 Available Roles/Character Breakdown: Mary Jane Kelly - Prostitute, 20s–40s. Complex lead role. Charismatic, vulnerable, defiant, emotionally demanding with strong stamina required. Landlord - Whitechapel slum landlord. Pragmatic and opportunistic. Represents systemic exploitation. Policeman - East End policeman. Grounded and practical. Lucy - Prostitute, 20s–40s. Sharp-tongued and street-smart. Cath Eddowes - Prostitute and alcoholic, 40s–50s. Spirited despite hardship. Liz Stride - Swedish prostitute and alcoholic, 30s–50s. Tough and guarded. Joe - Fishporter and Mary’s former lover, 20s–40s. Sincere and emotionally conflicted. Charlie - Policeman and friend to Mary. Friendly and conflicted. Mr March - Upper-class brothel client. Polished and entitled. Proprietress - Madam of a West End brothel. Controlled and businesslike. Cousin - Welsh prostitute. Contrasts Mary’s character. Constable Hutt - Senior Irish policeman and desk clerk. Experienced and procedural. Constable Watkins - Rookie beat policeman. Alert but inexperienced. Inquisitor - Leads the Whitechapel murder inquest. Formal and authoritative. Doctor Brown - Autopsy doctor. Clinical and composed. Witnesses: Gossip – intrusive and energetic Vigilante – aggressive and reactive Gentleman – composed and potentially unreliable