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Christmas came alive at Coorparoo with JDProCo’s ' Home for Christmas' , a heartwarming annual tradition now in its fifth spectacular year. This festive celebration, presented in partnership with Honour Productions, felt like a musical Christmas card to the community, stuffed with soulful crooning, jazzy jingles, and enough joyful energy to power Santa's sleigh!   The show opened with an enchanting a cappella rendition of ' That’s Christmas to Me' , immediately setting a cozy, nostalgic tone. Producer and performer Josh Daveta took the reins with ' Santa Claus is Coming to Town' , backed by the sensational 13-piece band, The Sequins. Their polished and cohesive sound dazzled all night long, with each solo showcasing the incredible talent of every musician! The first act was a vibrant fusion of jazz and pop hits. Josh shook things up with a mashup of ' Man with the Bag'  and ' Orange Coloured Sky' , Ava Valentine took us on a dazzling ' Sleigh Ride', and Ella Macrokanis and Cassie Wadeand gave us a Postmodern Jukebox-style ' Last Christmas'  duet. Cassie Wade’s melisma-filled ' I’ll Be Home for Christmas'  kept the jazzy momentum alive. Josh’s ' You’re a Mean One, Mr. Grinch'  was a cheeky standout, full of personality and charm—definitely one of my top picks! Meanwhile, the tear-jerking ' I Miss You Most at Christmas Time' was dedicated to anyone feeling a bit lonesome, adding a heartfelt touch to the otherwise jolly jamboree. The iconic Asabi Goodman infused ' Christmas Time Is Here' with a soulful richness, her deep tones enveloping the room in warmth. Angela Fabian, a vocal powerhouse, added incredible depth and soul to the evening. The instant ' The Christmas Song' began, I couldn't help but let out a verbal mmm —her voice was pure velvet. Her connection with the pianist was a transcendent moment, as if their very souls were in harmonious conversation. Act Two turned up the energy to "party mode," morphing into a gospel celebration that could make even the grumpiest Scrooge tap his feet. Ava and Josh’s mashup of ' Little Drummer Boy'  and ' Angels We Have Heard on High'  was so enchanting, I swear I felt like I was levitating out of my seat, before launching into a rousing, unique-style ' O Come All Ye Faithful' . Angela Fabian returned with a breathtaking rendition of ' Mary Did You Know' , pouring raw emotion into every note, while Josh’s yassified ' The First Noel'  sparkled with theatrical flair. The Queensland Show Choir lit up the stage with their kazoo-infused ' Holly Jolly Christmas ', and the group number ' Joy to the World ' filled the theatre with an unstoppable festive spirit. And when ' Joyful, Joyful'  kicked off—the version from Sister Act  —the room erupted in energy as the crowd joined in with joyful abandon. Angela's stunning rendition of ' O Holy Night' , combined with a soulful saxophone solo, had me absolutely melting in my seat! The finale of ' All I Want for Christmas Is You' , featuring Josh dazzling as a sparkling Christmas tree angel, wrapped up the evening with a big, festive bow! The crowd couldn’t get enough, erupting into cheers after every number. The energy in the room felt like a warm embrace. And the show wasn't just about the incredible music—it was a sensory feast. The lighting and sound design set a highly professional standard, creating a extravagant, festive atmosphere. Meanwhile, Santa’s little helpers were on a mission to spread joy (and cavities) by launching candy into the crowd like sugary confetti. What a delicious surprise that was!   'Home for Christmas'  was everything you’d want in a holiday show—heartfelt, homely, and overflowing with talent. It combined timeless carols, contemporary twists, and gospel brilliance in the most delightful way. JDProCo, I'm begging you to release a Christmas album—I need this festive magic all year long!

In December, Making A Scene Productions presented a contemporary adaptation of Shakespeare's ' Romeo and Juliet ' with ' Wherefore Art Thou Romeo? ' at BackDock Arts in Fortitude Valley. This version downplayed the age-old family feud to focus on the rapid and intense romance between the star-crossed lovers. Notably, this adaptation reimagined Romeo and Juliet as a queer love story, with both roles portrayed by women. They chose to retain Shakespeare’s original language (except for Romeo's pronouns) but trimmed the script down significantly; preserving the poetic essence while ensuring understanding through acting choices, emotion, and stage direction. Director Jack Winrow mentioned to me that nearly half of the play was cut, streamlining the narrative for modern audiences (and we’re grateful for that!). Co-directed by Brianna Wilkie, with sound design by Andrew Oxford and lighting design by John Roze, this production provided a captivating spin on the classic tragedy. Monica Behrenbruch took on the role of Romeo, while Rutika Nagarkar played Juliet. Their on-stage chemistry was undeniable, bringing an authentic passion to the romance. As the audience entered, Behrenbruch’s Romeo was already on stage, brooding over a breakup like a true drama queen, instantly pulling us into her world of love woes. A particularly memorable scene occurred when Romeo recounts the dream where Juliet kisses Romeo back to life, which then transitions into the poignant moment where Romeo learns of Juliet’s tragic fate. Behrenbruch acted with a palpable intensity that captured the unbearable pain of loss and the futility of her existence without her beloved, spiralling into the unhinged determination to take her own life. Nagarkar’s Juliet made an immediate impression with her excellent projection, a crucial skill when you're shouting sweet nothings in Shakespearean style. She embodied the whirlwind excitement and impatience of a teenager in love, making her portrayal feel both age-appropriate for the character and deeply relatable to anyone who has ever experienced the intensity of first love. The famous balcony scene was beautifully executed, with a striking use of backlighting enhancing the romantic atmosphere. One of the show-stealers was Azz Buckley-Oldfield as Mercutio, delivering scenes with charisma and theatrical flair. Their interpretation was packed with wit and energy to make Mercutio the life of the party. In contrast, Matthew Ianna’s portrayal of Tybalt served as the perfect foil to Mercutio’s vivacity. Their interactions crackled with tension, and the fight scene was impressively choreographed. The intensity of Mercutio’s death scene was palpable—so much so that some of their dying lines were lost in the dramatic weight of the moment. However, it was Behrenbruch's raw grief that followed that made the loss feel even more profound. The audience could practically feel Romeo's heartbreak as Mercutio succumbed to their injuries; a profound turning point that shifted the tone of the play entirely. Ally Wilson brought unexpected humour to Friar Laurence, especially in the scene where Romeo, overwhelmed by banishment, spiralled into a dramatic panic attack. Wilson's comedic timing and expressive reactions offered a refreshing counterbalance to Romeo's intense emotional turmoil. As Romeo flailed about in her emotional chaos, Wilson’s depiction of Friar Laurence as a somewhat bewildered yet well-intentioned character invited the audience to find humour amid the tragedy. Joel Dow perfectly captured Paris's exaggerated arrogance, highlighting Juliet's increasing discomfort as Paris persistently pursued her, oblivious to her disinterest. Edwina Saunders as Rosaline added an intriguing layer to the story. Her two-faced nature was played to perfection, making her later grief over Juliet’s death(s) feel surprisingly real, despite her earlier behaviour. Isabella Kirkwood was remarkable, having to step into the role of Lady Capulet faster than you can say "the show must go on." With only a few days to prepare, and occasionally sneaking peeks at the script, she gave a commanding performance as Juliet’s overbearing mother, handling Shakespeare’s tongue-twisting language with incredible assurance. The confrontation between Juliet and Capulet was a standout moment, showcasing the intense emotions between the two characters in a gripping scene. The show featured strong blocking and effective use of space, ensuring that the action remained visually engaging throughout. The modernisation of the setting was reinforced through costume and music choices. The characters were dressed in casual wear that fit the contemporary aesthetic, which helped bridge the gap between the classic narrative and modern sensibilities, allowing viewers to connect with the characters on a more personal level. While most of the pacing was tight and well-executed, one scene felt overly drawn out—the prolonged grief shared between Capulet and Rosaline over Juliet’s body. The emotional sorrow of the scene was palpable, but its length diminished its impact as it seemed to linger for an extended period, causing a noticeable shift in the audience's engagement. The use of fake blood in the final scene was both shocking and effective. The visceral imagery of the blood made the consequences of the characters' actions starkly clear to the audience. The cast delivered an incredible performance, especially considering how many scenes required solo work, demanding immense emotional depth from the actors. ' Wherefore Art Thou Romeo?'  was a fresh, heartfelt, and beautifully modernised adaptation of ' Romeo and Juliet' , demonstrating that Shakespeare’s themes of love and loss remain just as impactful today.

Brisbane Junior Theatre knocked it out of the park once again with their January production of ' Annie Jr. ' I had the privilege of attending the final performance of the ' Tomorrow' Cast, and what a treat it was! As always, BJT’s casting structure ensures that each young performer has their moment to shine, with two alternating casts giving multiple kids the opportunity to take on leading roles while also supporting each other in the ensemble. One standout performer who remained in his role across all performances was Oscar Fisher as Oliver Warbucks, and it’s easy to see why. He was a natural in the role, commanding the stage with confidence, boasting an accent that could convince a New Yorker, and delivering strong vocals, particularly in ' NYC '. His portrayal evolved wonderfully from the stern billionaire to a warm and caring father figure. His duet with Annie, ' I Don’t Need Anything But You ', was absolutely heartwarming. Speaking of Annie, Esther Valance was nothing short of phenomenal in the title role. Her vocal ability at such a young age was jaw-dropping, with incredible strength, control, and range. She carried many songs, but ' Tomorrow' —sung entirely solo—was a real showstopper. Beyond her voice, Esther truly embodied Annie’s optimism, warmth, and resilience. She even brought real tears to her emotional scenes, which had me misty-eyed right along with her. Carla Barton was a force to be reckoned with as Miss Hannigan, a true master of comedic mayhem. She nailed the trifecta of hilarity: impeccable comedic timing, exaggerated exasperation, and a sleazy charm, making the character both hilarious and villainous. Her accent, movements, and delivery made even the lines I know by heart feel fresh. She commanded the stage with ease and showed absolutely no fear in her performance. Alex Townsley was wonderfully sly as the scheming Rooster, while Neve Isles captured Lily's ditsy charm with flair. Together, they brought electric energy to Act 2, turning 'Easy Street'  into a fun showstopper. Their dynamic with Carla Barton as Miss Hannigan was packed with witty banter that kept my eyes darting between them to catch all the hilarity. James Tweddell was a standout as Bert Healy, bursting onto the stage in Act 2 with incredible charisma, great vocals, and some seriously impressive tap-dancing skills. He was a ball of talent, energy, and attitude, proving himself to be a young star in the making. Charlotte Westaway brought elegance and poise to Grace Farrell, balancing warmth with an authoritative presence. She carried herself with a refined grace that perfectly suited the role. Meanwhile, Henry Gow-Gates was an absolute delight as Drake, looking every bit the part in his dapper mini tuxedo. I particularly loved his comedic timing and playful character choices. The orphan ensemble was a powerhouse of personality, attitude, and boundless energy, with over 20 little girls bringing the stage to life. The lead orphans were exceptionally well-cast for their roles. 'Hard Knock Life' was a high-impact opening number, featuring Jada Parsons' dynamic choreography, which made brilliant use of the space and levels. Other standout dance moments included the polished and playful staging of 'I Think I’m Gonna Like It Here' and the infectious joy of 'Never Fully Dressed Without a Smile.' The orphans' harmonies in 'Maybe' were particularly touching, showcasing their impressive vocal ability and heartfelt delivery. The set design was cleverly crafted, with large pieces that moved around unnoticed between scenes, never disrupting the momentum of the show. The costumes were equally well thought out, particularly the orphans’ layered, patched-up denim, which captured the scrappy, Depression-era aesthetic. Naturally, Annie’s iconic red dress and wig made their appearance, while the Warbucks Mansion staff looked impeccably polished. And, of course, no ' Annie'  review would be complete without mentioning Saffie, the golden retriever playing Sandy, who earned rapturous applause simply for gracing the stage with her presence. Some things in theatre are just universal truths—dogs will always steal the show! The audience was packed and incredibly supportive, with cheers and applause ringing out for every big moment. I was particularly loud from my spot in the second row—how could I not be when these kids were delivering such a fantastic performance? The professionalism, energy, and sheer talent on display made it hard to believe that this entire production was put together in just five days. And the magic isn’t over yet! Many of the parents of these talented young performers are now taking the stage in the full adult production of ' Annie ' by Brisbane Musical Theatre, running from Thursday, January 9th to Saturday, January 11th. If this junior version was anything to go by, the full-length production is bound to be incredible. Don’t miss out— tickets are available here

Title: Divorce Party Presented By:  Gold Coast Little Theatre Genre:  Comedy-Drama Synopsis: When Lila signs her divorce papers, all she wants is a quiet night in—but her longtime friend Kimberley has other plans. She gathers the former bridesmaids for a surprise divorce party, despite their having barely seen each other for fifteen years. As cocktails flow, old tensions resurface, and the night spirals into chaos. Secrets are revealed, friendships are tested, and Lila is forced to confront her past before she can embrace her future. This fast-paced, girls' night out comedy explores themes of identity, friendship, and starting over. Written & Directed By:  Michelle Macwhirter Audition Details: Audition Date: Saturday, 11 January 2025 (by appointment) Video auditions also accepted (must be submitted by Friday, 10 January 2025) Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough Street, Southport, QLD Audition Registration: Audition Registration Form Audition Pack: Available here Audition Contact:   hello@michellemacwhirter.com Audition Requirements: Complete the audition registration form by Friday, 10 January at 9 PM Cold reads from the script (audition pieces available at GCLT Auditions ) Video audition option available (submit link via email) If auditioning for Lady, please also submit a video of you singing or prepare a short a cappella song for your in-person audition. Accents: Australian (or actor’s natural accent). Ages are flexible — audition if interested! Available Roles: Female Roles: Lila  – The divorcée. Vulnerable, fragile, downtrodden, but trying to keep it together. Works in risk assessment. Mother of twin sons. (30s-40s) Kimberley  – The neurotic planner. Organised but controlling. Married to Tilly. Owns pugs. (30s-40s) Lady  – The loveable diva. A famous singer with a rock/pop/indie style (actor's choice). Singing ability required. (30s-40s) Gemma  – The rebel. Happily single, rough around the edges, straight-talker. Now a paramedic. Broad Aussie accent.  (30s-40s) Peaches  – The innocent. A kindy teacher, sweet and secretly engaged. A Tupperware lady. Not supposed to drink. (20s-30s) Male Roles (1 or 2 actors to play multiple characters): James  – Likable Airbnb owner, recent divorcee. Zimon  – Fortune teller with a dodgy accent. Freddie  – Drug dealer and ring-in stripper (who doesn’t actually strip). Drunk Man  – Unwanted guest at the rooftop bar. Performance Dates: Friday, 28 March 2025 – Saturday, 12 April 2025 at Gold Coast Little Theatre Rehearsal Dates: Rehearsals Begin:  Tuesday, 14 January 2025 Rehearsal Days:  Tuesday & Thursday (7 PM), Sunday (AM) Final Rehearsal Event:  "A Night with Divorce Party" – Saturday, 8 March 2025, 5 PM Warnings: This production features adult themes, humour, and alcohol references. Required Age:  18+ Creative Team: Director:  Michelle Macwhirter Assistant Director:  Michelle Watkins Production Website:   GCLT Auditions Other Information: All cast members must become financial members of GCLT ($20 fee).

At the PIP Theatre 2024 Toucan Club Festival, Lucy Lucia unleashed a deeply relatable and hilarious one-woman show titled ' Ickoholics Anonymous' that hit home for anyone who's ever felt the sting of secondhand embarrassment or the full-body cringe of the ick. Armed with a sharp wit, a killer voice, and a PowerPoint presentation, Lucy took her audience on a 45-minute rollercoaster ride through the seven stages of the ick, blending comedy, music, and storytelling into a thoroughly engaging performance.   From the moment Lucy stepped onto the stage, she owned it. With just a projector, minimal props, and her dynamic presence, she guided us through her "IA meeting" (Ickoholics Anonymous, naturally), recounting her supposed "soulmate" encounter at a café. Her storytelling engaged effortlessly, her script a perfect mix of humour, self-awareness, and a Aussie charm.   Although I’m straddling the line between Gen Y and Gen Z, I related to everything . Lucy captured the universal experiences of obsessive crushes, Harry Styles fandom, and cringe-worthy moments like when a man scampers after runaway ping-pong ball. Personally, I’ve been on both sides of the "ick"—I caused one when I fell off a handrail while trying to impress my crush by sliding down it, and I’ve also felt it while watching a boy attempt to rollerblade. Lucy's sharp commentary on Aussie culture—complete with ibis/condom antics and a spot-on depiction of the Fortitude Valley train station—had the audience cackling. And who hasn't winced at a text with tragic punctuation like “your so beautiful”?   The humour hit all the right notes, from her impersonation of her mum to the brilliantly real “delulu hours,” where Lucy described those late-night spirals of Pinterest scrolling, outfit planning, and cringy texts. The use of a projector to display texts, phone screens, and PowerPoint slides added an interactive layer that kept the audience locked in.   While singing wasn’t the main focus of the show, Lucy’s voice was an absolute treat. Whether it was belting out snippets from Wicked , Hairspray , Mulan , or Taylor Swift, or serenading us on the guitar in full “Ken-mode,” her musical interludes were delightful bonuses that complemented her comedy. She made sure every element of her props and costuming was intentional. The lighting and sound were perfectly timed for dramatic and comedic effect and her use of the stage was purposeful and dynamic.   The audience was incredibly supportive, joining in with laughter, cringing, and singing. Lucy's playful charm made everything feel authentic, as if she wasn't just performing for us. By the end, I was so engaged in her journey that her stories felt like my own experiences. Word has it that Lucy is as kind, humble, and down-to-earth as she seems on stage. While I didn’t get to stick around to say hi (I had a date with my cats and my couch), her warmth and authenticity shone through every moment of her performance.   Ickoholics Anonymous  was a refreshing, laugh-out-loud exploration of romance's cringiest moments. Lucy’s comedic brilliance, relatable content, and endearing personality made it an unforgettable highlight of the festival. I’ll be keeping an eye out for whatever she does next—this is a performer who’s going places!

Presented by the Blue Roo Theatre Company and the Queensland Multicultural Centre, Midnight at the Cemetery  was a delightfully eerie and entertaining original production devised and performed by Blue Roo’s inclusive ensemble. This hilarious melodrama invited the audience into a moonlit cemetery, brimming with spooky charm and eccentric characters, for a memorable night of theatrical fun. The story, written by Sarah Jackson and the Blue Roo ensemble, explored themes of trust, scepticism, and the timeless lesson that “if something seems too good to be true, it probably is.” Directed by Lachlan Driscoll, Oriel Halpin (mentored), and James Loakes (mentored), the production celebrated collaboration and inclusion, bringing together a diverse cast of performers who shone in their roles. We were warmly introduced to the company and given a glimpse into the unique accessibility features of the show. With Auslan interpretation provided by Deaf Connect, audio description by Vivien Whittle, and dialogue projected on the back wall, every effort was made to ensure the production was inclusive and engaging for all. The cast of eight brought immense energy and charm to the stage. Benjamin Cox as Mystic Zoltan-the scam artist, opened the show with a lively back-and-forth alongside Stephanie Collas as Kelsey. Ben Halpin’s Mr Grumbles-the grave digger, had wonderful comedic timing, while Sarah Johnson’s Not Igor and James Loakes’ Doctor Twizzle made a wonderfully dynamic duo. Sarah’s understated delivery was a perfect contrast to her zinger lines, and James’ exaggerated expressions, especially during a moment of terror when he cried out for his mummy, had the audience in stitches. Matt Southgate as Nick oozed attitude, practically rolling his eyes in every scene, while Cameron East as the Mummy brought a delightfully spooky charm. Brigid Coote as Mrs Twizzle kept appearing and making everyone laugh with her adorable offering of tea. The choreography by Maureen Bowra was showcased beautifully in the ensemble’s energetic performance of “Monster Mash,” which was a definite crowd-pleaser. The costumes, designed by Catherine McNaught, were both spooky and detailed. What stood out most was the cast’s camaraderie and enthusiasm. Despite the challenges of memorising lines, blocking, and staying in character, the performers excelled, occasionally leaning on improvisation and gentle prompting in a way that felt seamless. The humour and joy radiating from the stage were infectious, and the audience responded with cheers and laughter. The Q&A session following the performance offered a heartwarming glimpse into the cast’s experiences. They spoke about how performing has boosted their confidence, improved their social skills, and allowed them to thrive as a team. One performer shared how theatre had even helped her with their stutter, highlighting the transformative power of the arts. Blue Roo Theatre Company continues to provide life-changing opportunities for performers with disabilities, fostering creativity, confidence, and connection. This talented ensemble will be back in 2025 with theatre programs in Paddington and Kingaroy, and I, for one, can’t wait to see what they create next! Photo Credit: Creative Futures Photography

Disney and Cameron Mackintosh’s Mary Poppins : A Practically Perfect Night at the Theatre 'Mary Poppins: The Broadway Musical'  soared onto the stage in November 2024 at the Twelfth Night Theatre, presented by Queensland Musical Theatre (QMT). Known for their tradition of staging a second annual show with kids involved, QMT selected this beloved family classic to showcase a lively blend of pint-sized performers and seasoned pros. As a proud superfan of this musical and Disney film, I approached this production with both high expectations and excitement. Having seen the stage show many times, I was buzzing to see how a community production would handle such a grand piece. Bringing a production as colossal as Mary Poppins to life is no easy feat, but under the direction of Deian Ping, with Nicky Griffiths overseeing the music and Julianne Burke handling the choreography, QMT presented a delightful rendition brimming with nostalgia, talent, and heart.   Casting Magic I was fortunate to attend an understudy performance with Emma Parkinson (pictured here as Queen Victoria) stepping into Mary Poppins' magical shoes, alongside Tia Godbold and Jake Allen as the mischief-makers, Jane and Michael Banks. Word on the street is that Georgia Mercer (pictured here as Mary), the principal Mary Poppins, was utterly marvellous in her portrayal, captivating audiences with her exceptional talent. However, Emma Parkinson flew in like a seasoned pro, seamlessly capturing Mary’s no-nonsense primness, quick wit, warmth, and underlying enigma. She handled the gigantic role with calm confidence and a divine vocal quality that shone in "Practically Perfect." The Banks children, Tia Godbold as Jane (shared with Alessia Monteverde) and Jake Allen as Michael (shared with Isaac Wilson), were little professionals. Their stamina and acting skills were remarkable, particularly given that they appeared in nearly every scene. They committed to being “perfectly horrid” in the early scenes to provide a delightful contrast to their eventual transformation under Mary’s guidance. Jake’s funny and sugary vocals in “The Perfect Nanny” were a treat, while Tia’s feisty take on Jane nailed the character's bratty yet vulnerable nature. They both managed to present a mix of defiance and longing; their journey from mischievous children to more understanding individuals depicted beautifully in their performances. Ray Gillmore truly embodied the character of Bert with a cockney accent and charm that captivated the audience from his opening moments "Wind's in the East, there's a mist coming in..." Ray was clearly in his element on stage, exhibiting a natural ease, incredible dancing skills, powerful vocal strength, and a friendly face that was always beaming with a warm smile. His easy rapport with the other characters was evident, as subtly guided them on their individual journeys and his friendship with Mary Poppins was endearing and believable; creating a magical connection on stage. Jamie Taljaard portrayed Winifred Banks like a pro, sprinkling warmth all over the stage. She captured Winifred’s quiet strength with subtle emotion and sincerity, which was obvious even from my vantage point at the rear of the theatre. Her solo “Being Mrs. Banks” was a tender and heartfelt exploration of her character's life as a loving mother and supportive wife; a lovely counterpoint to David McLaughlin’s stern yet evolving portrayal of George Banks. Typically known for his comedic roles, David’s portrayal of the serious Mr. Banks was a captivating change (although his goofy side does emerge in Act 2). His performance softened beautifully during the moving duet “A Man Has Dreams”, showing George’s vulnerability and growth in a genuine way. The chemistry between Taljaard and McLaughlin was palpable, illustrating the contrasting yet complementary nature of their characters. Kathryn King delivered a deliciously menacing performance as Miss Andrew, with her formidable operatic voice, wild gaze, and ferocious presence on stage making her a memorable antagonist. The duet she performed with Mary Poppins in the haunting “Brimstone and Treacle” was chillingly brilliant. The impressive vocal harmonies of both actors created a mesmerising auditory experience as the playful undertones of Mary Poppins' voice juxtaposed with the harsh, pompous tone of Miss Andrew.   Supporting characters added touches of humour and heart throughout the production. Kellie Wilson brought hilariously over-the-top drama as the housekeeper Mrs Brill. Skye Schultz captivated everyone with their bumbling antics and exaggerated expressions as Robertson Ay, the clumsy butler. James Hogan's dual roles as Admiral Boom and the Bank Chairman exuded an authoritative presence, embodying pomp and circumstance. Kristie Rabbitt’s tender performance of “Feed the Birds” was a stunning moment in the production. The choral backing combined with the orchestral swell elevated the number to breathtaking heights. Loretta Melit, leading "Supercal..." as Mrs. Corry, exhibited a confident dramatic flair that commanded attention. Jonathan Taufatofua stood out in his featured roles, leaving me wishing he had more time in the spotlight. Special mention must go to Peggoty and McGinty, the adorable dogs portraying Willoughby. Constanza Acevedo Burckhardt, handled the pups with exceptional care as Miss Lark. Whenever one of the tiny pups appeared on stage, their scene-stealing antics had us so entertained that we completely missed what anyone was saying - whoops! A Feast for the Eyes and Ears The set, designed by the duo of Gerard Livsey and Deian Ping, was a character in its own right. Constructed by an extensive team, the set unfolded like a giant storybook to transition between the Banks’ main room, nursery, and kitchen. The props and scenery offered a quintessentially British aesthetic while also serving as functional special effects. While the visual presentation was largely captivating, the scene transitions occasionally felt awkwardly long and frequent, momentarily breaking the flow of the performance. Despite this, the overall impact of the set design remained powerful, as it invited the audience to step into the world of the characters. Deian Ping led a large team dedicated to bringing the characters to life through their costumes. The attire was not only era-appropriate, but they also embraced a whimsical quality. The sheer number of costumes created for the production was extensive and impressive! In the memorable "Jolly Holiday" sequence, the vibrant outfits worn by the characters were a feast for the eyes, featuring bright patterns and playful parasols that evoked a sense of joy and wonder. Even the actors portraying the statues had to be painted in shimmering silver and wear wigs, not to mention the chimney sweeps requiring soot. The logistics of managing such a vast array of costumes, from the initial fittings to the final performance, required a high level of organisation and teamwork, showcasing the incredible effort behind the scenes. The lighting design by Tom Dodds featured an array of spectacular colours that were chosen to complement and enhance each scene. While the lighting was generally effective and contributed significantly to the overall aesthetic, there were moments when it faltered. Specifically, the use of backlighting, although intended to create dramatic effects (and stunning stage shots), often obscured the projected backdrops, rendering them virtually invisible to the audience. This oversight diminished the impact of the carefully crafted visuals that were meant to support the storytelling. Furthermore, the absence of follow spots proved to be a notable shortcoming, as it left the lead performers shrouded in darkness during pivotal moments. The sound operation managed by Josh Cathcart ensured that the balance between the orchestra and the vocal performances was effective, allowing the rich tapestry of sound to resonate beautifully throughout the venue. The orchestra, under the magical baton of Nicky Griffiths, was a driving force behind the intricate and expressive score. Their rich arrangements took the whole production to new heights, especially during emotionally charged moments like “Chim Chim Cher-ee” when Mary departs, or the exhilarating “Let's Go Fly a Kite” when Mary returns. Those familiar with this stage musical know that it predominantly consists of musical numbers or underscoring, and the orchestra never faltered. The ensemble’s vocals were consistently strong, harmonising beautifully and enveloping the theatre in warmth and joy like an enormous musical hug. Guided by Julianne Burke's choreography, each dancer embraced their roles with such passion. Almost every number in the production featured an imaginative array of prop work that added layers of visual interest; whether it was a parasol, a clipboard, a chimney sweep broom, a glowing star, or a kite soaring through the air. “Jolly Holiday” was a whimsical treat with its pastel colours, swirling skirts, and statues springing to life. “Supercalifragilisticexpialidocious” showcased the original, famously complex choreography, executed with precision and the boundless energy of a toddler on a sugar high. It was evident that the cast had dedicated countless hours to rehearsing and coordinating this intricate routine. “Step in Time,” led by tap captain Mike Lapot, was a true showstopper, brimming with thrilling tap sequences, prop work, and acrobatics. Sixteen chimney sweep dancers performed with remarkable stamina and enthusiasm, making it a clear audience favourite. The children's ensemble lit up the stage in the big production numbers, where their youthful energy, colourful costumes, and sheer cuteness were the secret ingredient to the musical's success. The closing number, “Anything Can Happen,” was bittersweet and uplifting, leaving the audience with a sense of hope and wonder as Mary Poppins soared across the stage for a final farewell. Final Thoughts Despite its considerable length, the show’s pacing felt swift, a testament to the cast and crew’s efforts to keep the audience engaged. The exceptional photography captured by Stageshots at Pif Productions captured the magic beautifully, preserving the production’s best moments. For a community production tackling one of the more complex musicals in the repertoire, this production reminded us all that “Anything can happen if you let it.” Queensland Musical Theatre’s commitment to ambitious storytelling remains strong, and their rendition of ' Mary Poppins'  was practically perfect in every way. Photo Credit: Stageshots at Pif Productions

Title : Dimboola Presented By : BATS Theatre Company Inc. Genre : Australian Comedy/Drama Synopsis : Dimboola is a classic Australian play celebrating the raucous, heartfelt, and humorous chaos of an outback wedding. Protestant Morrie McAdam marries Catholic Reen Delaney in the Mechanics' Institute Hall in Dimboola, Victoria. The two families, with all their quirks and disagreements, come together in a lively, boisterous wedding filled with drink-fueled insults, punches, and mayhem as they navigate their differences and celebrate the union of the newlyweds. Written By:  Jack Hibberd Audition Details: Audition Dates: Tuesday, 21 January 2025 Thursday, 23 January 2025 Audition Times: 7:30 PM Audition Location and Address: Buderim War Memorial Hall, Corner of Main Street & Gloucester Road, Buderim, QLD Audition Requirements: Open auditions with cold reads of the script. No pre-prepared monologues are required. Play-readings may be held the week before auditions for those interested in becoming familiar with the material. If unavailable on the audition dates, contact Director Kathy Hickson at 0400 446 197. Available Roles: Maureen Delaney (Reen): Bride. Morrie McAdam (Morrie): Groom. Darcy Delaney (Darkie): Father of the bride. April Delaney (June): Mother of the bride. Angus McAdam (Knocka): Father of the groom. Florence McAdam (Florrie): Mother of the groom. Patrick O'Shea: Parish priest. Daryl Dunn (Dangles): Best man. Shirl: Bridesmaid and town bike. Astrid McAdam: Flower girl. Horace McAdam (Horrie the Horrible): Uncle of the groom. Mavis McAdam: Aunt of the groom. Aggie McAdam: Spinster cousin to the McAdams. Bayonet: Local wit and drunk. Mutton: Local wit and drunk. Lionel Driftwood and His Piledrivers: The band. Leonardo Radish: Reporter for the Mildura Trumpet. Performance Dates: Friday, 4 April 2025: Evening Saturday, 5 April 2025: Matinee and Evening Friday, 11 April 2025: Evening Saturday, 12 April 2025: Matinee and Evening Performance Location: Buderim War Memorial Hall Rehearsal Dates: Tuesdays and Thursdays: Starting 28 January 2025. Warnings: The production includes humorous and exaggerated depictions of outback Australian culture with audience interaction. Recommended Age : 18+ Production Website:   BATS Theatre Auditions Bring a friend and your best "Give it a Go" mindset for a fun and lively production!

Title : The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society Murder Mystery Presented By:  Thrive Productions Genre : Comedy Play Synopsis : Every drama group has experienced the horrors of what can go wrong on opening night, and the ladies of the F.A.H.E.T.G. Dramatic Society are no different—except that almost everything that could possibly happen, does! From collapsing scenery to forgotten lines and missed cues, this ambitious evening's entertainment promises chaos and laughter as the ladies tackle their whodunit, Murder at Checkmate Manor. Complete with a Film and Fashion Show, a Murder Mystery Quiz (with a prize!), and an inventive final twist, this hilarious romp is a testament to the resilience and creativity of amateur dramatics. Written By : David McGillivray & Walter Zerlin Jr Director:  Susan O'Toole Cridland Audition Date: Wednesday, 8 January 2025 Audition Time : 7:00–9:00 PM Audition Location and Address : KSP Theatre, Burpengary, Corner of Old Bay Road & Maitland Road, Burpengary QLD 4505 Audition Requirements: Cold reads of the script (no preparation required). Complete the audition registration form: Register Here Available Roles: SYLVIA (playing Inspector O'Reilly ) FELICITY (playing Pawn , a butler; Colonel King , Lady Bishop's brother-in-law) AUDREY (playing Lady Doreen Bishop , a widow; Violet Bishop , her spinster aunt; Mrs. King , the Colonel's wife; Joan Bishop , Lady Bishop's cousin) MRS. REECE (playing Clarissa Rook , Lady Bishop's sister; Régine , the French maid; Patricia Bishop , Lady Bishop's niece; Letita Bishop , her sister; Mr. Goodbody , a solicitor) THELMA (playing Daphne Bishop , Lady Bishop's daughter; Rose Bishop , her spinster aunt) THE PRODUCER Performance Dates: Friday, 4 April 2025: Evening Saturday, 5 April 2025: Matinee and Evening Friday, 11 April 2025: Evening Saturday, 12 April 2025: Matinee and Evening Performance Location: KSP Theatre, Burpengary Rehearsal Dates: Mondays & Wednesdays: 7:00–9:00 PM Saturdays: 1:00–4:00 PM

Title : The Witches Presented By : National Academy of Performing Arts (NAPA) Genre : Play Synopsis: Adapted from Roald Dahl's beloved novel, The Witches tells the story of a brave young boy and his grandmother who uncover the secret world of witches conspiring to rid the world of children. Packed with magic, comedy, and suspense, this stage adaptation is a delightful journey of courage, family, and triumph over evil. Written By:  David Wood (Adaptation), based on the novel by Roald Dahl Audition Details: Audition Date: Sunday, 16 February 2025 Audition Times: Session One (10:00–11:30 am): Actors auditioning for Boy, Bruno, and Grandmother Session Two (11:30 am–1:30 pm): Actors auditioning for all other roles (The Grand High Witch has been cast). Audition Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Audition Requirements: Required Age: 8+ for children; 18+ for adult roles Audition pieces will be sent out upon registration. A variety of English and European accents will be used. Audition Pack:   Download Here Audition Registration:   NAPA Auditions Available Roles: Boy:  Male presenting, playing age 8–12, curious and brave orphaned child. Bruno Jenkins:  Male presenting, playing age 8–12, solid, stocky, obnoxious, and comic. Grandmother:  Female presenting, playing age 60+, loving and knowledgeable about witches. Lawyer/Hotel Doorman/Head Waiter : Male presenting, 20s+, multiple comedic roles, accents a bonus. Sailor/Doctor/Head Chef : Male presenting, late 20s+, multiple comedic roles, accents a bonus. Mr Jenkins:  Male presenting, 35–55, posh and pompous father to Bruno. Mrs Jenkins:  Female presenting, 30s–50s, prissy and doting mother to Bruno, comedic. Mixed Ensemble:  All ages, playing roles such as Nurse, Waiter, Waitress, Guests, various witches, and more. Performance Dates: 11–17 April 2025 Performance Times: School holiday matinees and evening shows Performance Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Rehearsal Dates: Commencing Sunday, 23 February 2025 Mondays and Wednesdays (evening) Sundays (daytime) Other Information: Ensemble and Witch ensemble members can elect to appear in day shows, evening shows, or both. Adult actors may be called upon as puppeteers and to operate various tricks and tech. Director: Amy Elkin

Title : The Curious Incident of the Dog in the Night-Time Presented By : National Academy of Performing Arts (NAPA) Genre : Play Synopsis: Adapted by Simon Stephens from Mark Haddon's novel, this powerful story follows Christopher Boone, a neurodivergent teen with an extraordinary brain, as he embarks on a journey to solve the mystery of a neighbour's murdered dog, uncovering secrets about his family along the way. Written By:  Simon Stephens (Adaptation), based on the novel by Mark Haddon Audition Details: Date : Sunday, 5 January 2025 Times : Session One (4-5pm): Actors auditioning for Christopher, Siobhan, Ed, and Judy Session Two (5:30-7:30pm): Actors auditioning for multiple role tracks Location and Address: NAPA Studios,3 Stevenson Court, Burleigh Heads, Queensland Audition Requirements: Actors must be aged 18 or older. Cold read auditions with script extracts available for perusal from 3:30 pm. All actors must speak in an English accent (the play is set in Swindon, Wiltshire). Unfortunately, actors unavailable during the final week of rehearsals or for any shows will not be considered. Audition Registration:   NAPA Auditions Audition Pack:   Download Here Available Roles: Lead Roles: Christopher Boone:  Male presenting, playing age 15/16, neurodivergent teen boy. Siobhan:  Female presenting, mid-20s to mid-30s, Christopher's positive and warm teacher. Ed Boone:  Male presenting, late 30s to 50s, Christopher's exasperated but caring father. Judy:  Female presenting, late 30s to 50s, Christopher's struggling yet loving mother. Multiple Role Tracks: Actor One:  Mrs Alexander/Posh Woman/Voice Six (Female presenting, late 50s+). Actor Two:  Mrs Shears/Mrs Gascoyne/Voice One/Woman on Train/Woman on Heath/Shopkeeper (Female presenting, 30s to 40s). Actor Three:  Policeman 1/Mr Thompson/Voice Three/Drunk Two/Man With Socks/Man on Phone/London Policeman (Male presenting, 20s to 40s). Actor Four:  No. 40/Voice Five/Lady in Street/Information/Punk Girl (Female presenting, 20s to 30s). Actor Five:  Roger Shears/Duty Sergeant/Voice Two/Mr Wise/Man Behind Counter/Drunk One/Reverend Peters (Male presenting, 40s to 50s). Performance Dates: 7-16 March 2025 Performance Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Rehearsal Dates: Commencing Monday, 13 January 2025 - Mondays, Wednesdays, and Sundays from 6:00 pm Creative Team: Director: Amy Elkin Assistant Director: Jacy Lewis

Title : Charlie and the Chocolate Factory Presented By : Redcliffe Musical Theatre Genre : Musical Theatre Synopsis : Step into a world of pure imagination with Charlie and the Chocolate Factory! Based on Roald Dahl’s beloved novel, this magical musical features a mix of original songs by Marc Shaiman and Scott Wittman (Hairspray), along with classics from the 1971 film such as "Pure Imagination" and "Candy Man." Follow young Charlie Bucket and four other lucky ticket winners on a fantastical journey through Willy Wonka’s mysterious factory. With chocolate rivers, nutty squirrels, and curious Oompa-Loompas, this production is a delightful adventure for the whole family. Audition Details: Dates and Times: Thursday 9th January, 12:00 PM – 5:00 PM (preference for JUNIOR cast) Saturday 11th January, 9:00 AM – 5:00 PM Monday 13th January, 5:00 PM – 9:00 PM Location: Theatre 102 at 1 02 Anzac Ave, Redcliffe Call-Backs: Saturday 18th January (Time TBA) Audition Requirements: Lead or Featured Roles: One minute of a musical theatre song in keeping with your chosen character. Willy Wonka and Charlie Bucket auditionees must prepare a second contrasting song. Ensemble: Any musical theatre song showcasing your vocal range and ability. Video Submissions: Initial video submissions are accepted; shortlisted candidates must attend an in-person callback. Audition Registration Audition Pack Rehearsal Schedule: Rehearsals Start: Monday 20th January 2025 Regular Schedule: Mondays and Wednesdays (Evenings) Sundays (Mornings) Tech Week: Commencing Monday 17th March 2025 Special Note: Ensemble members are only required for Sunday rehearsals until 10th February. Performance Details: Venue: Redcliffe Entertainment Centre Season: Friday 21st March, 7:30 PM Saturday 22nd March, 2:00 PM & 7:30 PM Sunday 23rd March, 2:00 PM Friday 28th March, 7:30 PM Saturday 29th March, 2:00 PM & 7:30 PM Sunday 30th March, 2:00 PM Available Roles: Willy Wonka: Mysterious, charismatic, with a dark edge. British accent preferred. Vocal Range: A2 – G4 Playing Age: 28+ Charlie Bucket: Sweet and hopeful. British accent required. Vocal Range: G#3 – F5 (unbroken voice) Playing Age: 9–12 Grandpa Joe: Impish, kind, and full of energy. British accent required. Vocal Range: G#2 – G4 Playing Age: 60+ Augustus Gloop: Overactive and food-obsessed. German accent required. Vocal Range: Bb3 – G5 Playing Age: 10–14 (up to 18 considered) Mrs. Gloop: Augustus’s Wagnerian mother. German accent required. Vocal Range: Bb3 – D5 Playing Age: 38+ Veruca Salt: Vicious and spoiled. British/European accent preferred. Vocal Range: Ab4 – Db5 Playing Age: 10–14 (up to 18 considered) Mr. Salt: Veruca’s doting father. British/European accent preferred. Vocal Range: Ab2 – Ab4 Playing Age: 38+ Violet Beauregarde: Confident and full of attitude. American accent required. Vocal Range: C#4 – F#5 Playing Age: 10–14 (up to 18 considered) Mr. Beauregarde : Violet’s ineffectual father. American accent required. Vocal Range: F#3 – G4 Playing Age: 38+ Mike Teavee: Energetic and wild. American accent required. Vocal Range: G3 – Bb4 Playing Age: 10–14 (up to 18 considered) Mrs. Teavee: Overwhelmed and on edge. American accent required. Vocal Range: G3 – Eb5 Playing Age: 38+ Ensemble Roles: Oompa-Loompas (must be under 150cm tall), TV Reporters, and Crowd Members. Additional featured roles include Grandparents, Mrs. Green, and Jerry. Additional Information: Membership fee required to participate: Adult: $30, Concession/Junior: $25, Family: $70 Show Fee: Covers rehearsal materials, costumes, and other expenses: Lead and Adult Cast: $100 Junior Ensemble: $50 Creative Team: Producer/Director:  Madeleine Johns Music Director:  Rhonda Davidson-Irwin Assistant Director:  Sandra Harman Production Manager:  Kelli Marriott For more details, view the full Audition Pack  or visit Redcliffe Musical Theatre's Website . Contact: Madeleine Johns Phone: 0488 103 759 Email:  info@redcliffemusicaltheatre.com