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Title:  Frenzy! Presented By: Galore Genre:  Circus, Dance, Theatre, Drag, Burlesque, Music, Comedy & Performance Art Synopsis: GALORE! invites performers to present creative, bold acts themed around FRENZY!  Exploring joy, pain, chaos, resilience and catharsis. Acts may be serious, whimsical, irreverent, unusual or experimental. Audition Date:  Expressions of Interest close March 1st, 2026 Audition Requirements: Submit performance details, including: name, act description, genre, duration (4–9 minutes), technical requirements, links to footage or promo images, social media info, bio and photos. Audition Registration:  Complete and submit the online EOI Google Form . Performance Dates:  Saturday March 21st, 2026 Performance Times:  7:30PM Performance Location: EC Venue, 17 McLachlan St, Fortitude Valley QLD 4006 Warnings: Venue cannot accommodate fire acts or high-rig aerial work. Stage dimensions and limitations apply. Performer Age:  18+ Other information:  Profit-share arrangement - ticket revenue split among performers after costs; performers must help promote ticket sales. Available Roles/Character Breakdown: This is a performance showcase open call rather than a scripted show with roles. Eligible performers include: Solo, duo or group acts Circus, dance, theatre, drag, burlesque, music, comedy or performance art Acts that fit the FRENZY!  theme Acts 4–9 minutes long

Director:  Kym Brown Musical Director:  Sally Faint Choreographer and Costume Designer:  Julianne Clinch Production Design:  Panda’monium Designs Photography:  Creative Street and Brit Creative Content includes gun violence, murder, strong language, sexual references, abuse, and loud gunshot effects. “Who we gotta hold up to get my picture on the cover?” Nowadays we chase fame with hashtags and ring lights. In 1930s America, Bonnie and Clyde chose a far louder method. Some shows ease you in gently. Bonnie & Clyde  does not. From the moment those car headlights blind us, we know we're in for a wild ride. Phoenix Ensemble has a knack for choosing shows that are daring yet still pull a crowd, and Bonnie & Clyde  sits comfortably in that pocket. It’s dramatic, musically rich, and sprinkled with wit. Yes, it journeys to dark places to remind us that before they were turned into a musical, Bonnie and Clyde were just two young people hungry for more than the world was offering them. Set in 1930s America, the musical follows Bonnie Parker, an ambitious woman aching for fame, and Clyde Barrow, a restless man determined never to feel powerless again. They both yearn for recognition and escape, sparking a passionate partnership. Fame is the aim. Crime becomes the method. And media attention does the rest. Under the direction of Kym Brown , this production does not skim the glossy surface of their legend. A fair portion of their real-life saga is explored: Prison and police brutality are addressed. Community resentment during the Great Depression is woven through ensemble work. Bonnie’s poetry reframes robbery into tales of romance. Media fascination builds steadily to transform them into folk heroes raging against the system. Each choice feeds the flame, and that wildfire heads straight towards the inevitable... Chelsea Guard  is a genuine star as Bonnie Parker. Perfect in vocal delivery, both sung and spoken. She exudes strength, sass, and softness all at once. With her low eyeline, she gives that perfect demure look up through her lashes, part doe-eyed ingénue, part sultry siren. Rather than playing Bonnie as simply a sweetheart of a criminal, Chelsea leans into her inner diva. Bonnie relishes playing the role of an outlaw. And that hunger for fame reads clearly, from Eva Rose McMurray  as Young Bonnie in Picture Show  to Chelsea as her adult counterpart. She embodies an accessible elegance of the era with natural poise. Despite Bonnie’s tenacity, she falls hard and fast for the rebel rouser Clyde Barrow. James Bird  charts Clyde’s journey with clarity. Early scenes are played with charm and impulsive boyishness. Milo White  portrays Young Clyde, brandishing a BB gun and dreaming of becoming the next Billy the Kid or Al Capone. After a stint in the slammer, something shifts. Raise a Little Hell  marks that turning point after brutal degradation. James does not let the song feel triumphant. It is explosive. Because underneath sits humiliation and rage. There is even a familiar fugitive energy that echoes James’ past role as Frank Jr. in Catch Me If You Can (BTG) , but this time with far more danger. His ukulele serenade to Bonnie offers a disarming contrast. For a moment, they’re just two young lovebirds, but their relationship plays more like an addiction than a fairy tale. Too Late to Turn Back Now gives Bonnie her “uh-oh” moment when she realises that swapping thieving for shootouts is not as glamorous as it sounds. It is one of the few times fear overrides her love, if only briefly. The harmonies between Chelsea and James in this piece, along with What Was Good Enough For You and Dyin’ Ain’t So Bad, are consistently aligned and emotionally connected. Ruby Thompson  and Mark James  are the emotional counterweight as Blanche and Buck Barrow. We first meet Blanche in her hair salon during You’re Goin’ Back to Jail , where she’s nagging her husband to turn himself in. Meanwhile, the salon customers are chirping about how much more peaceful life is with their spouses behind bars. Yet beneath Ruby's cheeky wit, she’s the voice of reason. Blanche truly believes in repentance for Buck. Mark James portrays Buck with warmth, loyalty, and a touch of impressionability. Their husband-and-wife dynamic feels surprisingly authentic. When Clyde writes about life on the run, Buck is seduced by the adventure, while Blanche is not. This contrast is highly impactful in Ruby’s stunning rendition of That’s What You Call a Dream . As the violence intensifies, Blanche’s breakdown is portrayed with a deeply human touch. Heartbroken and holding onto her faith, Ruby transforms Blanche from a source of comedic energy to emotional wreckage. Molly Parker  shines as Bonnie’s mother, steadying every scene she appears in. She reminds us that a family exists behind each headline. Andrew Engelsmann delivers lovely vocals in You Can Do Better Than Him, portraying Ted’s unrequited love with sincerity and a touch of self-pity. Even when he is not driving the engine of the story, his presence reinforces what Bonnie is walking away from. Stability. Safety. A different kind of future. Law enforcement is not painted as cartoonish adversaries here. Reece Rostedt brings a powerful presence as the slightly daft Sheriff, armed with a convincing Texas drawl. While he is technically the good guy, through Bonnie and Clyde’s lens, he becomes the obstacle in our heroes’ story. Amber Lawson’ s Texas Ranger is all grit and no quit, wielding authority without hesitation. Production design by Panda’monium Designs creates a sepia-toned world. Walking in, you are met with a white sheet stretched across the stage as archival black and white footage flickers against it. Suddenly, car headlights deliberately blind us through a red wash of light, and for a second you are caught in the crossfire. It is cinematically immersive and dangerous from the get-go. Wooden slats and adaptable set pieces create a flexible stage frame. Chairs hang on the walls and are pulled down and used to portray homes, hideouts, churches, and jail cells. Prison bars glide into place without fuss. Projected surtitles quietly mark the year, location, and headline. Scene transitions are visible and seamless, a clear credit to Stage Manager Tarah Walsh and the ensemble. No clunky pauses or awkward blackouts here. Lighting genuinely surprised me, which I do not say often. Illumination, (including fire!) appears from unexpected angles and areas to shape the mood beautifully. Costumes by Julianne Clinch sit comfortably in the 1930s without looking costume-y. And those final looks for the Barrow gang mirror historical photographs so eerily close close. Wigs by Taylor Atley are tidy and period-appropriate. Texan accents across the cast are strong and consistent. No distractions here folks, just a cohesive western world. Even the venue upgrades deserve mention. Phoenix Ensemble’s new seats are fantastically comfortable, the aircon was glorious, and the sound mixing was excellent all night. Frank Wildhorn’s score moves between gospel, country and western, blues, and sweeping musical ballads. Under the musical direction of Sally Faint, the ten-piece orchestra remains boppy, tight, and full without overwhelming the vocals. Sound design ensures the balance between band and microphones is excellent. Gunshot effects are sharp and each one carries weight. Audience members visibly jumped more than once. Julianne Clinch’ s choreography in The World Will Remember Us bursts with youthful ambition. How ’Bout a Dance? brings early romantic playfulness with a charming waltz. Made in America gives the ensemble a powerful moment to voice economic frustration and resentment during the Depression. When I Drive choreographs the brothers with loose, playful energy as they celebrate Clyde’s recently “borrowed” car. God’s Arms Are Always Open is staged with gospel grandeur led by Jade Jose , who is a phenomenal vocal choice! Kym Brown’s direction keeps the pacing tight without sacrificing emotional beats. Scenes move swiftly, but nothing feels rushed as it builds to the climax. Space is used well, particularly in split-scene moments. Phoenix Ensemble has assembled a seriously strong team here to deliver this high-quality production that is musically powerful, visually cohesive, and emotionally engaging. Bonnie & Clyde does not ask you to approve of its infamous lovers. It asks you to understand them. We all know the historical ending - spoiler alert, it’s not a happy one. When the headlights return, you know exactly where this road has been heading. But no longer as a bystander. You are in it with them. And somehow, for a fleeting moment, you still imagine they might outrun it. https://phoenixensemble.com.au

A Night of Sherlock Holmes Three classic tales in radio play format Directed by Jason Nash Play 1: The Adventure of the Speckled Band Play 2: A Scandal in Bohemia Play 3: The Case of the Blue Carbuncle “It’s my business to know what other people don’t know.” If modern FM radio is all loud ads, endless chatter, and the same five songs on repeat, then this is its elegant, intelligent ancestor. Long before podcasts, television, or breakfast hosts yelling nonsense in your car, radio was theatre placed right in your home. It relied on voice, atmosphere, and your own imagination. And Nash Theatre dives headfirst into that vintage magic with A Night of Sherlock Holmes . Five vintage-style microphones line the front of the stage. A glowing “On Air” sign reminds us we are in the recording studio. An “Applause” light prompts our participation to clap like we mean it. Just performers, scripts and sound. But wait, what's that upstage? Along the back wall are three live foley artists, concocting entire worlds from an assortment of random objects. Hats off to Mark Corben, Lara Latham and Emma Latham , who clearly relish every second of their controlled chaos. Foley is a delicate craft though. Sometimes, we could hear every little rustle of their scripts and every accidental movement through the mics. Tightening those silent moments will make the illusion even more immersive.   Arthur Conan Doyle first unleashed the dynamic duo of Sherlock Holmes and Dr. Watson upon the world in 1887, and it's hard to think of a literary character that's stuck around longer. Nash Theatre has made it a habit to kick off their year with a radio play, and this time they went for a hat-trick of Holmes adventures.   Director Jason Nash makes strong use of his experienced cast by rotating roles across the three plays. Between acts, the old-timey advertisements were humorous and well executed. However, trimming all the ads slightly next time would tighten the overall pacing. The jokes land without needing the entire promotional monologue, which probably adds 15 minutes to the run time. The short violin transitions between scenes paid a nice tribute to Holmes' musical inclinations. While I do question their necessity, they certainly added a touch of dramatic flourish.   There were nine performers in total, immaculately dressed in 1930s glamour. Ladies Sandy Adsett, Jenny Bonney-Millett and Kiah Latham embodied the era with polished poise. Red lips, pearls, furs and heels reminded us that even radio demanded style. Clear diction, supported projection and expressive delivery ensured that every clue landed cleanly. The cast remained fully engaged throughout. Even when seated, they listened and reacted. Mark Corben , in particular, was picking up every twist and turn. You'd think he was binge-watching his favourite show. By the end of the evening, I was mentally exhausted from the concentration because I enjoy trying to solve the mystery before the reveal.   Play One: 1930s – The Adventure of the Speckled Band Domonic Thurlow stepped into the shoes of Sherlock like he was born with a magnifying glass in hand, alongside David Hill as Dr Watson to deliver a refined and measured interpretation. Domonic is a standout for his natural pacing and ease with accent work. His Holmes feels assured and grounded, never forcing the intellect but simply inhabiting it. Kiah Latham portrayed Helen Stoner with believable anxiety. Her voice carried genuine fear without tipping into melodrama. Bruce Edgerton’ s Dr Grimesby Roylott was suitably booming and threatening, a voice that filled the room with menace. Meanwhile, in the foley corner, Lara Latham was having the time of her life. She frequently stole focus in the best way. The baboon sequence had the audience cackling because of the absolute commitment behind it.   Play Two: 1940s – A Scandal in Bohemia The second story shifted tone into something more stylised and playful. Caleb Hockings delivered a loveable, slightly goofy Watson with a very committed “gov’ner!” accent that drew plenty of laughs. Alex Thompson’s Sherlock retained intellectual sharpness, though he did trip over a word or two. The accent buffet in this tale was quite the feat and had me recalibrating my ears with so many variations flying around. Bruce Edgerton’s German-accented King of Bohemia suited him comfortably. Matt McNeice’s Irish accent was perfectly convincing. One of the evening’s most memorable lines comes here: “I was once tricked by a woman .” Even Holmes, it seems, is not immune to humility.   Play Three: 1950s – The Case of the Blue Carbuncle This was my personal favourite. For clarity, we are dealing with a dazzling blue gemstone here, not a dermatology 'carbuncle' emergency. Caleb Hockings returned, this time as Sherlock, opposite Matt McNeice as Dr Watson. Their back-and-forth was completely elementary, dear reader. Notably, they barely looked at their scripts, which gave their performance a freedom and confidence that lifted the entire piece. Set at Christmastime, the atmosphere was playful from the outset. Jingle bells rang. Carollers sang enthusiastically off key. Holmes began by deducing the entire life story of a man from a lost hat, played with smug precision by Caleb. His eyebrow acting alone conveyed complete intellectual superiority. Matt’s Watson was the perfect grounding force of the partnership, like a comforting cup of tea. Together, they most aligned with my mental image of the iconic duo. By this point, the humour was knowingly tongue-in-cheek, and it worked. Jenny Bonney-Millett’s radio announcer in this final segment was sometimes difficult to hear over the background music, but a little music adjustment would fix that in a jiffy.   Three decades. Three interpretations of Holmes and Watson. One nostalgic evening of storytelling. Radio theatre asks us to lean in and truly listen. It reminds us that you do not need spectacle to create compelling theatre. You need skilled performers, precise sound and an audience willing to imagine. By the end of the night, I was as mentally wiped out, because I love playing detective and cracking the case before the big reveal! A Night of Sherlock Holmes delivers exactly that. If you enjoy clever dialogue, well-crafted accents, vintage glamour and the delight of watching artists clearly having a ball, this is well worth tuning into.

Agatha Christie’s The Mirror Crack’d Centenary Theatre Group Director & Set Design:  Alison Lees Tech Design:  Brian Hobby Wardrobe:  Serena Altea Photography:  Julie Collins “One never knows when one's time has really come…” I spent my Sunday settling into the Centenary Theatre for an Agatha Christie whodunnit. The murmur of the audience carried that particular anticipation. Everyone quietly preparing to play detective and crack the case. And The Mirror Crack’d  delivers exactly that pleasure, wrapped in glamour, secrets, and the dangerous fragility of reputation. The tea is poured, the accents are (mostly) sharp, and you can bet your magnifying glass someone’s certainly about to die. First published in 1962 and set in that same year, this tale remains one of Christie’s more reflective mysteries. It has been adapted several times, most notably in the 1980 film, and draws loose inspiration from the tragic real-life story of Gene Tierney. At its heart sits one of Christie’s most beloved sleuths, Miss Marple, who is quietly wrestling with ageing, independence, and relevance. Set in the quintessential English village of St Mary Mead, a charity fête hosted by glamorous film star Marina Gregg takes a deadly turn. Polite small talk and star-struck excitement fracture into suspicion and buried trauma. he audience gets to play detective, watching the same scene unfold from different viewpoints in a series of flashbacks. It is a structure that rewards attentiveness, as clues hide in mismatched details and subtle emotional shifts. Meanwhile, with a sprained ankle confining her to an armchair, Miss Marple must rely on recollections and contradictions to piece the puzzle together, assisted by Chief Inspector Craddock.   The inclusion of a video screen displaying black and white newsreel footage immediately grounds us in the early 1960s. It is an effective visual touch that adds context without overwhelming the action. CTG are usually meticulous with their visual worlds, and while this set establishes location, I found myself craving more period detail in the interiors. More refinement and perhaps a stronger sense of faded glamour beyond the mirror vanity to match Marina’s world. The wardrobe does not always lean into the 1962 setting either. For a Christie, visual detail helps anchor the stakes, and a few additional flourishes would deepen the immersion.   Desley Nicholas  as Miss Jane Marple captures her propriety and curiosity beautifully. There is a quiet steeliness beneath her gentle manner, particularly evident as she politely but persistently pries into everyone’s affairs. She balances fragility and intellect with care, and when she eventually pieces together the truth, you know she's earned it. Miss Marple must appear harmless while secretly acting as the Sherlock solely through observation, and in this role, Desley becomes the backbone that supports the entire show. Selina Kadell  as Marina Gregg brings glamour and volatility in equal measure. Draped in a striking red gown, she embodies the enigmatic film star concealing uncomfortable truths. Marina must be dazzling yet deeply vulnerable, and Selina leans into that duality well, particularly in her more emotional moments. She should definitely amplify the diva drama even further, similar to the scene when she is portraying Catherine of Aragon. Erik de Wit  as Chief Inspector Dermot Craddock is properly British and satisfyingly stuffy, grounding the production with official authority and a hint of impatience. He works well as the pragmatic counterbalance to Marple’s intuitive methods. Traci Sumpter  as Dolly Bantry was a scene stealer for me. Rosy-cheeked and socially unstoppable, she is the neighbourhood busybody we recognise instantly. Her side eyes and sassy commentary hit the comedic jackpot every time. Dana Stolp  as Cherry Baker brings youthful nervousness and sweetness, while Natalie Pedler  as Heather Leigh injects excitable energy into all her scenes. I genuinely wish we saw more of her! Peter Van Werkhoven  as Jason Rudd captures the slightly haughty, self important demeanour of a film director convincingly. Rounding out the company is Emily Pell  as Lola Brewster, the bright young ingénue, Keith Scrivens  as Cyril Leigh, ever the overlooked Mr Cellophane, Samantha Broome  as Ella Zielinsky, the devoted and watchful assistant, and Trevor Bond  as Giuseppe Renzo, the loyal butler firmly trapped within Marina’s gravitational pull. Each contribute to the layered web of gossip, suspicion, and shifting alliances. This cast handles a substantial script with admirable stamina. Christie is famously dialogue heavy, and there are tonnes of lines to navigate. As the run continues, tightening a few exchanges and sharpening line cues will only strengthen the rhythm and vocal clarity that a mystery like this relies upon. Alison Lees honours the traditional Christie structure, allowing the mystery to unfold methodically. The split scene flashbacks and carefully staged tableaux support the storytelling well, and blocking is used to emphasise overheard conversations and isolation. For me, the pacing sits slightly on the leisurely side. Tightening transitions or quickening certain exchanges would heighten tension and keep the investigative momentum humming. Christie adaptations live or die on pace. Too slow and the suspense softens. Too rushed and the audience loses the clues. With a little sharpening, the tension could build even more satisfyingly toward the final unmasking. Christie often treats murder with a curious lightness, and this production embraces that tonal balance between dark intrigue and Brit comedy.   The Mirror Crack’d  is ultimately about more than a poisoned drink. It is about ageing, identity, reputation, and the cost of fame. Marina Gregg and Miss Marple stand as two brilliant women confronting time and navigating loss in very different ways. One is desperate to preserve her image. The other quietly proves she is still formidable. Centenary Theatre Group delivers a respectful and carefully constructed whodunnit, layered with gossip, glamour, and just enough red herrings to keep you guessing. It is the kind of show that invites you to lean forward and pay attention. Because in Christie, the smallest detail matters. And just when you think you have solved it, the mirror cracks again.

Title:  Footloose Presented By:  Communication in Action Genre:  Musical Theatre Performance / Youth Production Synopsis: A high-energy, story-driven musical based on the classic film about self-expression, community, and dancing against the odds. Students in Year 5 and above get the chance to take part in this ensemble-rich, professional-style theatre production. Audition Date:  Sunday May 17th, 2026 Audition Location and Address:  Thomas Dixon Centre, 406 Montague Rd, West End QLD 4101, Australia Audition Requirements: This full-scale musical is designed for students in Year 5 and above who are ready to challenge themselves, grow in confidence and experience what it’s like to be part of a professional-style theatre production. Audition Registration: Enrolments open March 2nd, 2026 Audition Pack: Footloose Information HERE Performance Dates:  Sunday August 2nd, 2026 Performance Times:  1PM & 4PM Performance Location:  Talbot Theatre, Thomas Dixon Centre, West End QLD 4101, Australia Rehearsal Dates & Times: Sunday 24 May - 9AM - 4PM Sunday 14 June - 1PM -5PM Saturday 11 July - 11AM - 4PM Sunday 12 July - 9AM - 4PM Sunday 19 July - 9AM - 4PM Sunday 26 July - 9AM - 4PM Saturday 1 August (Dress Rehearsal) - 9AM - 4PM Rehearsal Location:  Thomas Dixon Centre, West End QLD 4101, Australia Performer Age:  Year 5 and above Production Website: Communication in Action - Footloose

For the Sake of Love Sun and Wine Arts Company Wonargo Revue, Brisbane Writer:  Claire Yorston Director:  Cherie McCaffery Cast: Amber Lawson as Julia Reagan Warner as Mark Ben Kasper as Oliver Laura Renee as Ash Cristian Stanic as Jacob Hayden Parsons as Josh Claire Yorston as Sophie Emma King as Lucy Hamish Chappell as Cupid   Valentine’s Day may be about love... but in this office it seems to be about very questionable decision-making. For the Sake of Love  quickly proves that the subject is rarely simple. Presented by Sun and Wine Arts Company at the Wonargo Revue, this original Brisbane work takes the romantic comedy format and reshapes it into something a little messier, a little more honest, and far more relatable.   The intimacy of the venue meant there was nowhere to hide. The audience sat just a few feet from the in-the-round action, close enough to catch every awkward glance, overheard confession, and workplace misunderstanding. I loved feeling like the wallflower colleague watching the office drama unfold from my seat.   Written by Claire Yorston , this play unfolds in the office of a book publishing company, where eight colleagues navigate a tangled web of attraction, heartbreak, friendship, and self-discovery over the course of a year. Imagine a relationship chart that starts to resemble a conspiracy board as feelings shift, overlap, and collide. Colour-coded books cover the desks, wheeled office chairs are labeled with each character’s name on the back, and the layout suggests different corners of the office without needing elaborate scenery. Lighting from all sides, including hanging bulbs overhead, washes the space in alternating pink, blue, and white tones. Basically, the only thing missing was a coffee machine, a water cooler, and someone loudly microwaving their lunch in the break room.   And then, there is Cupid… Hamish Chappell appears intermittently as the mischievous instigator of the entire affair, sporting wings, a towel-like diaper, a bushy beard, and occasionally a necktie for good measure. Because it turns out even Cupid has to look business casual. His entrances always earn a ripple of laughter from the crowd and serve as an odd reminder that love may arrive when nobody asked for it. Even the interval keeps the theme alive, with audience members invited to scribble anonymous love notes to the cast aww!   What I appreciated most about Claire Yorston’s writing is that it resists the usual romantic comedy shortcuts. Attraction here is fluid. Love can be unrequited, fleeting, complicated, or entirely unexpected. Rather than leaning on familiar tropes, the script allows each character to explore their own perspective on connection, desire, and vulnerability. Chances are you will recognise a little bit of yourself in at least one of them.   The dialogue feels particularly authentic. Much of the script consists of quick office banter that swings between gossip, awkward silences, flirty encounters, and tension. It captures the rhythm of workplace conversations remarkably well. People talk over each other, misread situations, overshare, and say the wrong thing. The office dynamics here quickly become complicated enough that HR would almost definitely step in.   Cherie McCaffery’s direction keeps the space in constant motion. Characters weave around one another, shifting chairs and furniture as conversations spark, overlap, or fizzle out. At times scenes play simultaneously, with characters sharing the same room yet existing in completely different emotional worlds. With the staging continually shifting perspective, they prevent the energy from settling for too long. And they even occasionally throw in a spontaneous dance break as an unexpected reset.   Structurally, the play follows the characters across more than a year of office life, giving each person a chance to reveal their inner thoughts through a dedicated monologue. These moments are not always profound or poetic, but that is the point. Sometimes they simply allow us to hear what the character is thinking and feeling that the others cannot. Everyone gets their moment to speak their truth; and I enjoyed every single monologue delivery.   The ensemble works well together, creating a believable workplace dynamic. Claire Yorston as Sophie comes across as hard-working, sweet, impulsive, and the kind of colleague who genuinely wants everyone around her to succeed. Laura Renee delivers a layered performance as Ash, balancing a fun exterior with underlying insecurity. Her character’s emotional arc is particularly affecting, and she captures the heartbreak within her storyline so beautifully.   Ben Kasper stands out as Oliver, a character who initially seems destined to fade into the background. Instead, he becomes one of the most interesting figures on stage. Oliver talks far too much, often revealing more than he intends, and exists in that curious space between self-aware and completely oblivious. What makes him compelling is that beneath the "nice guy" act he truly is a good person.   Emma King as Lucy, (basically Rapunzel), is equally memorable. She portrays someone hilariously and hopelessly devoted to a love that can never materialise. Lucy is charming, funny, and disarmingly sincere. Hayden Parsons brings a quiet intensity to Josh, playing the character with a thoughtful, introverted seriousness. Cristian Stanic leans fully into Jacob’s flamboyant theatricality, creating a character who is dramatic, loud, and wonderfully entertaining.   Amber Lawson’s Julia carries herself with confident authority as the boss of this incestuous work team. Her presence suggests someone accustomed to being in control, yet still navigating emotional complications of her own. Reagan Warner as Mark balances charisma with vulnerability, presenting a man who is articulate and charming until his tendency to interrupt reveals the anxiety of someone who has been hurt before. The play is undeniably ambitious. With eight central characters and a wide network of relationships to explore, the story has a lot of ground to cover. The runtime reflects that, with a full intermission included. While the length occasionally slows the pace, it also allows each character’s storyline to develop with true care.   One small note I found myself wishing for was a stronger sense of closure from Cupid. Since he opens the story and sets events into motion, it would have been satisfying to see him return at the end to tie everything together. Still, For the Sake of Love  presents an engaging and thoughtful piece of theatre. It is full of recognisable moments about the strange ways people fall in and out of love (or something like love). It can be peaceful, perplexing, painful, inconvenient, awkward, or heavenly. Rather than presenting romance as a tidy fairy tale, the show embraces the unpredictability that comes with real human relationships and all the various forms of love they contain.

Music by:  Andrew Lloyd Webber Lyrics:  T. S. Eliot Principal Cast: Grizabella – Gabriyel Thomas Bustopher Jones/Asparagus – Todd McKenney Old Deuteronomy – Mark Vincent Jellylorum – Lucy Maunder Rum Tum Tugger – Des Flanagan Munkustrap – Jarrod Draper Jennyanydots – Leigh Archer Mr Mistoffelees – Tim Haskayne   It felt about time that I finally saw Cats ! This Andrew Lloyd Webber musical has been prowling around the world’s stages for over forty years, yet somehow it had eluded me until now. Our theatre landscape is currently bursting with flashy new film-to-stage adaptations like Pretty Woman , Anastasia , Beetlejuice , and Back to the Future , along with repeat juggernauts like Wicked , The Book of Mormon  and Six. In the words of the show itself, “the modern productions are all very well..." but it was energising to finally witness one of the true giants of the musical theatre canon. And what a way to experience it! The musicians absolutely did not hold back as the overture score surged out of the pit with full power. The theatre itself was packed to the rafters, and the audience energy was electric. Sitting in Row O (first row of the back of the stalls) turned out to be the perfect vantage point when the Jellicle cats began wandering through the aisles. The production made brilliant use of the entire theatre, not just the stage. Performers climbed, slinked, leapt and prowled across every available surface, swinging on structures, running along the edges of the orchestra pit, and interacting with audience members. You were never allowed to forget that you were inside their world now. Even during the interval, the illusion continued. Old Deuteronomy quietly remained on stage, observing the theatre like a wise old feline guardian. The design was wonderfully atmospheric too. John Napier’s iconic junkyard set provided endless levels and nooks for the cats to explore and hide, while the lighting design transformed the space constantly. Pawprint-like lights stretched across the theatre walls and ceiling, drawing the entire auditorium into the Jellicle playground. Glowing green eyes appeared in the darkness as the cats crept in through the stall doors. Strobes and flashes punctuated magical moments, while sirens blared during the dramatic sequences. But mostly, soft moonlight washed the stage in eerie blues and silvers. If there is one thing that becomes immediately obvious is that this is the ultimate ensemble show. Performing in Cats  must surely be one of the most physically demanding gigs in theatre. These performers must leap, tumble, and prowl like felines for the entire show, often while holding impressively difficult vocal lines. The stamina shown across the company was seriously impressive. And this cast delivered. Savannah Lind and Jake O’Brien were standouts as Rumpleteazer and Mungojerrie, bringing some serious swing to their jazzy number. Their playful chemistry and tricks made the whole sequence a real highlight. Tom Davis was phenomenal as Shimbleshanks the Railway Cat. The athleticism in that number was something to behold, combining rhythmic choreography with impressive acrobatics. Edward Smith’s Macavity brought a burst of big band swagger to the show, with booming brass in the score and a troupe of Macavity girls delivering fierce vocals and slick moves. Des Flanagan as Rum Tum Tugger was the epitome of rockstar charisma. He reminded me of legends like Tim Curry or Freddie Mercury, strutting across the stage with playful confidence and a magnetic presence. Todd McKenney looked like he was having an absolute ball in his dual roles as Bustopher Jones and the aging theatre cat Asparagus. He leaned fully into the theatricality, delivering both characters with plenty of flair and just the right amount of comic exaggeration. Tim Haskayne dazzled as Mr Mistoffelees, a sparkling whirlwind of precision dance and showmanship. His magical solo was met with huge applause, and rightly so. Mark Vincent’s Old Deuteronomy brought a deep, operatic richness to the production. His commanding voice and gentle authority grounded the show beautifully amid all the chaos and spectacle. Then there was Gabriyel Thomas as Grizabella. Under layers of scruffy fur and weary makeup, she delivered the show’s emotional heart. When the familiar opening notes of “ Memory ” played, the theatre grew still. Her voice soared through the auditorium with warmth, vulnerability and power, and by the final notes it was clear the audience had been completely swept up in the memory too. I had goosebumps all over! What struck me most about Cats  is how fancifully strange it is. The lyrics come from T.S. Eliot’s whimsical poems, and the music swings from lyrical ballads to odd rhythms and playful character songs. It definitely feels less like a traditional musical and more like a full-length dance ballet with bursts of spectacular singing. Speaking of which, the choreography is truly the backbone of the production. The feline movement language is so detailed and committed that you quickly stop seeing performers and start believing in a tribe of Jellicle cats gathering for their mysterious annual ball. And seeing the “Jellicle Ball” performed live was completely entrancing; I just sat back and took it all in, completely transfixed. By the final curtain, I found myself absorbed by the sheer theatricality of it all: the energy, characterisation, vocals, costumes, makeup and choreography make it impossible not to be impressed. After forty years, the Jellicle cats clearly still know how to put on a show. Now if you’ll excuse me, I’m off to sing to my own cats.

Title:  The Addams Family Presented By:  Millennial Productions Genre:  Musical Theatre   Synopsis:   The Addams’ have lived by their unique values for hundreds of years and Gomez and Morticia, the patriarch and matriarch of the clan, would be only too happy to continue living that way. Their dark, macabre, beloved daughter Wednesday, however, is now an eighteen year-old young woman who is ready for a life of her own. She has fallen in love with Lucas Beineke, a sweet, smart boy from a normal, respectable Ohio family - the most un-Addams sounding person one could be! And to make matters worse, she has invited the Beinekes to their home for dinner. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations: change.   Audition Dates:    March 14th & 15th, 2026 Callbacks - 19th March Audition Times: Additional Individual slots added March 12th & 13th evenings!  March 14th Individual Slots - 1:20PM - 8:30PM March 14th Dance Call - 4:15PM (1.5 hours) March 15th Individual Slots - 8:20AM - 11:15AM March 15th Dance Call - 11:30AM (1.5 hours) Audition Location and Address:   March 14th - Grange Community Hall, 187 Wilston Rd, Newmarket QLD 4051 March 15th - Zillmere Hall, 52 Murphy Rd, Zillmere QLD 4034 Audition Self-Tape:  To register for a video audition, please complete the Video Audition Registration Form   Audition Requirements:   Please prepare two contrasting pieces in the style of the show, one of which should lean into a legit or contemporary legit style. In addition, we have provided a small 8 bar vocal round ‘Morning Has Come’ which will be sung in canon against a member of the production team without accompaniment to give the team an idea of your part singing/harmony ability. Please bring backing tracks on a USB or an AUX cord compatible device. Please prepare the sides for your first-preference character. You do not need to be off book, but we recommend familiarising yourself with the material before your audition. All auditionees are required to attend a 1.5 hour group dance call. During this dance call you will have the opportunity to perform the choreography (provided) in addition to learning an advanced choreography piece. Audition Registration:   Complete the Registration form HERE to register for your audition Audition Pack:  The Addams Family Audition Pack   Performance Dates:  July 3rd - 11th, 2026  Performance Location:  Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, Queensland 4170   Rehearsal Dates:  Commencing April 9th 2026 for 12 weeks Rehearsal Times:    Tues & Thurs - 7PM - 10PM Sun - 3PM - 8PM Intensives - May 16th, 2:30 - 8PM & June 13th, 9AM - 3PM Rehearsal Location:  Vary between Hamilton, Upper Kedron, Grange Hall & St Lucia   Performer Age:  Performers aged 16yrs+ Creative Team:  Director - Taylor Atley Musical Director - Kaitlyn Evans Choreographer - Lauren Bensted Assistant Director - Amelie Clarke Production Website:   Millennial Productions - The Addams Family   Available Roles/Character Breakdown: Gomez Addams | Baritone/Bass C2 - B3 | Playing Age: 40+ A suave man who adores his wife and children and takes immense pride in being an Addams. He struggles with having to keep his daughter’s secret from his wife, whom he adores more than death. Morticia Addams | Mezzo-Soprano/ Alto G3 - A5 | Playing Age: 40+ The strength of the Addams family who believes strongly in family tradition. Morticia is unnerved thinking that Gomez is hiding something from her. She is confident with a side of dry wit. Feels her husband is hiding something from her and will use any tactic to lure the secret out. Wednesday Addams | Mezzo-Soprano A3 - E5 | Playing Age: 16 - 21 Big sister Wednesday who has her father’s heart and her mother’s sensibility and dry wit falls in love with a “normal” boy who she brings home to meet the family. Wednesday is trying to balance her relationships with her “strange” family with that of her new love and his “normal” family. Wednesday showcases compassion, a bit of stubbornness and strong will. Pugsley Addams | Tenor A2 - F5 | Playing Age: 16 - 21 The youngest of the Addams Family, Pugsley loves to be tortured by his big sister. He is lost trying to figure out his place now that she has a new boyfriend and family dynamics are changing. He wants to ensure he won’t lose his sister to her new boyfriend so he takes matters in to his own hands. Uncle Fester | Tenor/Baritone C3 - E4 | Playing Age 30+ Serving as the narrator of the show, Uncle Fester is larger than life, lovable, childish, enthusiastic and highly incorrigible. Grandma | Soprano G4 - F5 | Playing Age 60 - 80 Fun, quirky and feisty, Grandma always has a trick up her sleeve. Grandma is wise, wacky and sometimes a bit crass. Don’t mess with Grandma! Lurch | Bass D2 - E2 | Playing Age 30+ A man of few words, Lurch is the Addams Family butler. His unmistakable commanding presence is accented by grunts, moans and deliberate movement. Mal Beinecke | Tenor C3 - A4 | Playing Age 40+ The uptight and stuffy father of Lucas and exasperated husband to rhyming Alice, cynical Mal meets the Addams with skepticism. He finds the Addams to be too bizarre for his liking and cannot fathom being related to them. Alice Beinecke | Soprano G3 - G5 | Playing Age: 40+ Lucas’s mother and Mal’s wife, Alice is strongly devoted to her family. She presents herself as reserved and collected (even when speaking in rhyme) until she learns to unleash her wild side at dinner with the Addams. Lucas Beinecke | Tenor/Baritone C3 - E4 | Playing Age: 18 - 24 The hopeful romantic and son of Alice & Mal, Lucas has fallen in love with Wednesday and intends to marry her. He is optimistic and hopeful yet struggles to find the balance between his “normal” family and the macabre Addams. The Ancestors The Addams ancestors from various eras serve as the chorus for the show and help bring the story to life. They will be featured both singing and dancing throughout the entire show (once relapsed from the family crypt!).

Title:  2026 Law Revue Presented By:  QUT Law Society Genre:  Comedy Sketch / Musical Show    Synopsis:    What is Law Revue? It’s the most epic and hilarious original comedy sketch musical show, written, produced, directed, and performed entirely by QUT law students! A mix of sharp humour, satirical sketches, and show-stopping musical numbers, it’s the ultimate celebration of talent, creativity, and legal laughs. Auditions are in WEEK THREE, and we’re on the hunt for some legends to make this year’s show our best yet.   Audition Date:  March 9th - 13th, 2026 Audition Time:  from 6PM daily Audition Location and Address:  TBC Audition Self-Tape Due: by Friday March 13th, 2026 at 6PM     Audition Requirements:  Complete the registration form Audition Registration:  Register to audition HERE   Performance Dates:  August 28th & 29th, 2026 Performance Times:  TBC  Performance Location:  TBC   Production Website:   QUTLS

Title:  You Can’t Tell Anyone Presented By:  Vena Cava Productions Genre:  Philosophical Thriller Synopsis: Written by Canberra-based artist Joanna Richards, You Can’t Tell Anyone  is a philosophical thriller examining how teenagers survive the loss of meaning, structure and identity that comes with the end of adolescence. The work explores identity, uncertainty and the destabilising transition into adulthood. Audition Application Due: February 28th, 2026 Audition Dates (by invitation):  March 2nd - 4th, 2026 Audition Time:  Times allocated upon selection Audition Location and Address:  To be provided to selected applicants Audition Requirements: Prepare a 2–3 minute monologue that showcases your skills or something you are personally drawn to. Be prepared to take direction in the room. You may be asked to perform a cold read from the script. Audition Registration:  Application required prior to audition. Complete Registration form HERE . Selected applicants will be contacted shortly after applications close on Saturday 28 February 2026 with an audition time. Performance Dates:  April 10th - 12th, 2026 Performance Times:  TBC Performance Location:  TBC Rehearsal Dates:  Beginning early March 2026 Rehearsal Times:  TBC (adequate availability required throughout rehearsal period) Warnings:  Themes relating to adolescence, identity loss, and existential distress. Creative Team: Playwright - Joanna Richards Produced by Vena Cava Productions Production Website: Vena Cava Productions Other information: Full availability is required for all performance dates (10–12 April 2026) and strong availability throughout rehearsals. If you have concerns regarding availability, please contact the production team at venacavaproductionsqut@gmail.com Available Roles/Character Breakdown: Character breakdown to be provided upon application or audition invitation.

Title:  Twentee Presented By:  Anywhere Festival Genre:  Theatre / Comedy   Synopsis:   Full of energy, chaos and reality television crews, TWENTEE follows Tee's battle with her twenty-life-crisis and the uncanny events that transpire as a result of her 20-year-old 'delusions'. Luring her friends in one-by-one with a perfectly curated and strange assortment of ransom letters, she attempts to rekindle her high school friendship group to celebrate her twentieth birthday. But can old friends truly put their differences aside to celebrate Tee or will something far worse emerge from the production team of MTV?    Audition Self-Tape Due:  12PM, February 25th, 2026   Audition Requirements:  Provide your bio, CV, headshot and a self-taped monologue of choice that best aligns with your preferred role.   Audition Registration:  Register and upload self tape for TWENTEE via the form HERE   Performance Dates:  Dates TBC, part of the Anywhere Festival in May 2026   Rehearsal Dates:  TBC  Rehearsal Location:  TBC   Production Website:   TWENTEE 2026 Instagram - @twenteeplay

Title: The Heartbreak Club Presented By: Thundering Productions Genre: Comedy / Dark Comedy Synopsis: The Heartbreak Club is a dark comedy about heartbreak, healing, and (possibly) homicide. A group of women, all betrayed by the same ex-boyfriend, come together to form “The Heartbreak Club” in an effort to heal from their shared traumas. Bound by their collective resentment, their path to healing soon takes a dark turn… into a chilling plot to murder him. Audition Date: Sunday March 1st, 2026 Audition Time: From 1PM Audition Location and Address: Broadbeach Cultural Centre, 61 Sunshine Boulevard, Broadbeach Waters, QLD 4218 Audition Requirements: Audition scripts to be sent upon registration Audition Registration: Register to audition for The Heartbreak Club HERE Performance Dates: June 13th & 14th, 2026 Additional performances in May as a part of the Anywhere Theatre Festival Performer Age: Adult roles (specific ages per character will be provided in audition materials). Creative Team: Playwright: Kate Paraskevos Director: Mikayla Maree Melo Production Website: Thundering Productions - The Heartbreak Club Other Information: This production stems from Thundering Productions’ New Voices  initiative, supporting new local works. Follow Thundering Productions on social media for audition updates and production announcements. Available Roles / Character Breakdown: VERONICA - (Female Presenting, 18-30s) The host. Calculated and calm, but vengeful, dark, mysterious, and cool. She is the ringleader. She does not like showing her emotions or expressing her pain. She is tough. NEVE – (Female Presenting, 18-30s) Chaotic energy. A bit of a dirtbag, but loveable, funny, and passionate. Crass, and over the top. TESS – (Female Presenting, 18-30s) Practical, logical, smart. But still has a crazy side. Expert stalker, and the brains behind the operation. CLAUDIA – (Female Presenting, 18-30s) The new girl. Shy and vulnerable, but grows strong. She is kind, gentle, and tries to fit in with the girls.