Presented by Caper & Crow, Brisbane Festival, Blackbird Brisbane and Twelfth Night Theatre Playing 2 – 28 September, 2025   This year marks 100 years since F. Scott Fitzgerald first introduced us to Jay Gatsby, and what better way to celebrate than with a party Gatsby himself would throw?   For Brisbane Festival 2025, the Twelfth Night Theatre has been reborn. Forget the venue you thought you knew, the theatre has been reimagined as The Green Light , a sultry, shimmering cabaret club where Gatsby swans through the haze with a glass of champagne in hand.   The party begins before you even step inside. The foyer gleams with a full Gatsby glow-up: a sleek gin bar, glamorous photo spots, and a whiff of decadence in every corner. I arrive in my one and only flapper dress, somehow managing to both blend in and stand out. Once ushered into the transformed theatre, the immersion is instant. Haze curls over cabaret tables, waiters balance trays of cocktails, flashing you a smile that make you feel like the guest of honour, before suddenly breaking into epic choreography (talk about multitasking!). The waitstaff truly serve while serving , with Jacob McPherson, Jaimie Nirvana, Maddi Xuereb, and Mariia Borysiak leading the charge, alongside their equally magnetic ensemble (sorry if you are not mentioned by name! I'm going off the BrisFest website). Whether dazzling as dancers or soaring as aerialists, they are all exquisite, weaving precision, stamina, and heat into every corner of the theatre.   Director Craig Ilott and set designers Renier Jansen van Vuuren and Stuart Couzens have transformed the Twelfth Night into a decadent playground. The staging is ingenious: a double-level structure with Gatsby himself (Spencer Craig) surveying his guests from on high, and a bar so lavishly stocked with every spirit imaginable that it becomes a glittering centrepiece rather than just a backdrop. Lighting designer Matt Marshall bathes the room (and the shelves of that bar) in shifting neon and golden spotlights. Under Kim Moyes’ music direction, the soundtrack swings from 1920s riffs to thumping modern beats; one moment Fitzgerald’s world, the next a club floor in the Valley. The sound doesn’t just play at  us, it surrounds and engulfs, an electric mix of swing, pop, and remixed anthems that pulses through the whole space. One laughter-heavy track did grate on my ears, but the accompanying act helped distract. Costumes by Mason Browne and Rose Jurd swing between era-accurate glamour and daring modern reveals, always leaving us teetering on the edge of imagination… until they don’t. Hair and makeup were flawless, glittering under the lights. The acts come thick and fast. Choreographer Lucas Newland ensures every inch of staircases, aisles, balconies, and bar is claimed by dazzling movement. Oscar Kaufmann redefines “sexy” by entwining himself around a coat/hat stand in an aerial routine I didn’t know I needed in my life. Daniela Del Mar had jaws on the floor with her hair suspension act (yes, suspended by her hair — ouch!). Caitlin Marion Tomson-Moylan and Craig pair as Gatsby and Daisy in a sensuous aerial hoop routine floating somewhere between tragedy and ecstasy; and Tommy J. Egan taps up a storm to a jazz-infused remix of “Uptown Funk.”   One moment Florian Vandemeulebroucke is balancing glasses, the next he is dazzling us with a glow-in-the-dark juggling act. Bettie Bombshell brings cheeky comedy and fire twirling (literally), to her burlesque act, shouting “Happy Father’s Day!” to us with feral joy. Singer Georgia Sallybanks (aka Odette) stuns each time she opens her mouth; sultry vocals cutting clean through the chaos to ground the spectacle in a pulse of raw talent. What I really adore is how every corner of the theatre is fair game. Dancers slip into the aisles, pull audience members onto their feet, strip off layers to “Mr Saxobeat,” and blur the line between cast and crowd. At one point I found myself screaming with delight as Gatsby strode past me… he ignored me, of course, but what’s a girl to do when he only has eyes for Daisy?   Spencer Craig’s Gatsby looms throughout, less a man than a phantom host. His rope act to “Dancing On My Own” cut through the glitter with an ache that felt very Fitzgerald indeed. That thread of melancholy gives the night surprising depth: among all the excess and abandon, you can’t escape the reminder that Gatsby’s world was built on longing. The crowd was loud and gleeful (especially impressive for a Sunday night) and by the time we were showered in Gatsby-branded hundred-dollar bills and the giant champagne glass made its appearance, any restraint had definitely dissolved. Gatsby at the Green Light  is less a show you watch and more a party you tumble into. Around 80 minutes of aerial artistry, burlesque, circus, and dance, served with a martini and a wink. The pace never lags, and the freedom to duck out if you wish gives it a relaxed, club-like feel. Do heed the warnings though: there’s haze, strobe, partial nudity, adult themes, and plenty of front-row interaction. I did notice a man with a cane struggling on the stairs, so here’s hoping there is an accessible entrance to the theatre.   As part of Brisbane Festival , this feels pitch-perfect: bold, immersive, devilishly fun, and utterly alive. It’s exactly the kind of show that makes a festival feel like a citywide celebration, not just another night at the theatre. Pro tip: If you can, splash out for the VIP cabaret tables. The food and cocktails elevate the whole evening, and being right in the thick of the action makes the experience even more immersive (and steamy). Perfect for a date, a group outing, or anyone who wants to be swept into the reckless joy of Gatsby’s world. Photography by Morgan Roberts and Daniel Boud and Prudence Upton

Presented by:  THAT Production Company at Metro Arts Written by:  Clare Barron Directed by:  Timothy Wynn Choreography & AD:  Jennifer B. Ashley Photography:  Kenn Santos, Stage Shots Walking into Metro Arts for THAT Production Company’s Dance Nation , I had absolutely no clue what to expect, which honestly is the best way to experience a show this wildly unpredictable. Even before it began, the theatre was pulsing with Gaga, Chappell Roan, and the unmistakable rhythm of a hundred dressing rooms I’ve known. All that was missing was the smell of hairspray and someone crying over fake eyelashes... HUGE thanks to THAT Production Company for the last-minute ticket, because within five minutes I realised this was going to be a new favourite! Written by Clare Barron , Dance Nation  follows a troupe of tween dancers on the blood-sweat-and-tears road to national glory, all while navigating the messy metamorphosis of puberty. It’s the unhinged chaos of Dance Moms  meets the piercing tenderness of A Chorus Line , filtered through the hormonal haze of Euphoria . It’s the kind of show where you never quite know what’s coming next... The twist? Every “child” in the show is played by an adult actor. But they didn’t mock or parody adolescence; they inhabited it. Grown adults remembering what it actually felt like to be thirteen: dramatic, envious, messy, naïve, embarrassed, and full of dreams too big for their own good. The production affectionately poked fun at the things that often defines growing up in the arts: competition culture, social cliques, bizarre warm-ups, the “visionary” teacher with a God complex, and the endless hunt for validation. If you grew up in dance classes with your best friend (or like me, in theatre and choir) practically living at your rehearsal studio, you would appreciate every bit of this satire. The seven leads carried the story like an imperfect troupe: Carla Haynes  as Zuzu, Jeanda St James  as Amina, Janaki Gerard  as Connie, Thea Raveanu  as Ashlee, Jessica Veurman  as Maeve, Johanna Lyon  as Sophia, and Morgan Francis  as Luke. Each brought a distinct personality that felt instantly recognisable, not just as a character, but as an archetype of someone we once knew, or perhaps even were... Carla Haynes  led the pack as Zuzu, all nervous energy and internalised self-doubt, opposite Jeanda St James  as her more naturally gifted best friend, Amina. Their dynamic was beautifully complex: that uncomfortable friendship where one person shines a little brighter, a fact both know but never dare to say aloud. You could feel the sting of comparison between them, that strange mix of love and envy that comes from growing side by side but at different speeds. One reaching, the other already glowing. Carla embodied the girl who works diligently but always feels a step behind, while Jeanda radiated that golden aura tinged with loneliness, the quiet guilt of someone who knows her light casts shadows on her friends. Their scenes felt so real it made me squirm in my seat with that familiar “I’m so happy for you, but also… why not me?” energy. Jeanda's monologue about “riding the wave along” was raw and rippling with pride, exhaustion, hope, isolation, and that deeply human ache to succeed. While Carla as Zuzu mused innocently on love and her imagined future life as a dancer-slash-astrophysicist widow, and it was both wistful and profound. Her line, “I think falling in love is like remembering,” carried such simple grace. She found a quiet clarity about what truly brings her joy, and I was completely absorbed in her delivery. Janaki Gerard  landed the funniest blunt lines in the show while also being the cutest character. Her fierce “prayer” for the solo was pure theatre kid energy, the kind of desperate, hopeful plea to the universe we’ve all made at least once, right? Thea Raveanu  delivered one of the night’s most jaw-dropping moments: a spiralling, explicit monologue about beauty, brains, desire, and the baffling mystery of why people don’t just try harder at maths! It was raw, fearless, and unexpectedly funny in its confession. Johanna Lyon  channelled the hormonal hurricane of girlhood with a wild, relatable monologue of rage and confusion. Meanwhile, Morgan Francis  portrayed Luke with all the awkwardness and vulnerability of a young teen trying to find his place in a sea of leotards, glitter, and girls. One of the moments that really got me was Maeve’s monologue, beautifully delivered by Jessica Veurman , about her ability to float in the air. Her younger self, Charlie Cliff , drifted through the space beside her, and suddenly I was a kid again. I remembered being that child who thought flying and breathing underwater were entirely possible. The show kept uncovering those secret childhood beliefs we bury as adults, holding them up to the light through movement and words that seemed to slow time down... letting them shimmer briefly before dissolving again. Cameron Hurry’s  dance teacher Pat was a mix of delusion, self-importance, and committed conviction. His “inspirational” pep talks were spectacularly unhelpful, and his grand artistic epiphany for the troupe's next masterpiece, World on Fire , involved casting a soloist as Gandhi (AND as the Spirit of Gandhi) to express world peace through dance. Naturally, what he considered revolutionary genius turned out to be a hilariously camp sequence (complete with vampire fangs?) choreographed by Jennifer B. Ashley  to Buttons  by The Pussycat Dolls, if I recall correctly. Cameron captured exactly how young artists absorb every bizarre adult pronouncement and idea like it’s gospel. The incomparable Aurelie Roque  played every one of the dancers’ mums, switching between characters with lightning precision, each so distinct I kept forgetting it was the same person. She also appeared as young Vanessa in the opening tap number, the star student who promptly got injured in Scene One. Her “small child at an Eisteddfod” acting was so perfect that I immediately clocked what was happening: oh, these adults are playing the kids . Brilliant. Speaking of the tweens, the BG Performing Arts  contingent added a gorgeous layer of memory meeting the present. Holly Anderson  (young Amina), Charlie Cliff  (young Maeve), Milo White  (young Luke), Chelsea Howard  (young Connie), and Chloe Mortimer  (young Ashlee) all featured throughout, plus the fabulous tap ensemble to kick things off! The moment where Luke and his mum are travelling home after dance class, sharing few words while Milo drifts through a lyrical solo, was simple and beautiful. Later, Chloe and Chelsea’s duet was heartfelt in capturing friendship in motion. The inclusion of these young performers blurred time itself, as the adults watched their younger selves, and the dreamers they once were, dancing in the same light. There were so many times I didn’t know whether to laugh, cringe, or cry. The Dance of the Sugarplum Fairy  bit had dancers using just their faces to perform under a single spotlight, like a ridiculous drama class warm-up. Competition day arrived with the exact last-minute chaos that any performer will recognise. Someone got their period for the first time and panicked. Someone else spiralled because the rival schools had more boys in their troupe. Lucky toys went missing. Teacher Pat tried to be inspirational and somehow made everything worse. When the troupe finally performed World on Fire  and Janaki Gerard  appeared as Gandhi with a moustache and tiny glasses, I was gone. Sorry to the folks sitting in front of me, but her resemblance to the Lorax had me cackling. And when the number pivoted to Like a Prayer  (Club Mix), I have no idea how the cast kept a straight face. The concentration, the over-grinning, the dancer walk, the simplified choreography, and the way a tiny mistake feels like the end of the world when you’re thirteen… it was gold! Under all the laughter, the show kept pulling the rug out from under us. It didn’t shy away from the big topics: puberty, body image, sexual awakening, the cult-like devotion to teachers, and the relentless pressure to be perfect. There was a brief but pointed nod to the way grown men look at young girls. There was fake blood and frank confessions that felt almost too intimate to witness. One powerful split-stage moment showed Johanna Lyon’s  Sophia raging on her period in one area, Janaki Gerard’s  Connie playing peacefully with her toy horses in another, and Jeanda St James’  Amina quietly exploring herself in the third. Three versions of girlhood. Director Timothy Wynn  guided these moments with a steady, gentle hand. Each performer delivered a monologue that opened a window into their inner world until the stage felt like one big, collective diary. Themes of ambition and identity wove through their pieces with honesty and bite. It was confronting, and it reminded us just how weird and wonderfully hard growing up actually is. Visually, the production was both simple and stunning. Production designer Eva Fritz  placed five large mirrors across the back of the stage, instantly evoking the endless repetition of a dance studio. But these weren’t ordinary mirrors. They turned transparent, revealing what lay behind them: photo walls of past cohorts, private conversations, bathroom secrets... It was clever and layered, a reminder that what we see in the mirror is never the full story. Wes Bluff’s  dazzling lighting sculpted the space beautifully, shifting from harsh rehearsal brightness to dreamlike haze to kaleidoscopic patterns. Brady Watkins’  sound design roared and whispered by turns, filling every transition with life and keeping the energy electric throughout. The show raced by at 105 minutes with no interval, but I never once felt the urge to check my watch. Dance Nation  wasn’t about winning a competition. It was a dramedy about surviving the ugly, beautiful chaos of adolescence and finding your own rhythm within it. The audience laughed knowingly at every dance-mum cliché, every hormonal meltdown, every brutal teacher comment. I came in expecting jazz hands and tap shoes (and yep, got them), but left thinking about who I was at thirteen and how far I’ve come. THAT Production Company delivered a show that refused to dance “right”; it danced real . And it was awesome.

Presented by: Redcliffe Musical Theatre at Redcliffe Entertainment Centre Director & Producer: Madeleine Johns Music Direction: Rhonda Davidson-Irwin Choreography: Jill Rowlands Set Design: Jonathan Johns Costumes: Betty Rowsell, Erickson Ilustre and Madeleine Johns Sound Design: Connor Chadwick Lighting Design: Chris Walke Visual Effects: Angus Pitman and Madeleine Johns Photo Credit: Bruce Redman and Alan Burchill There’s no place like the theatre, and Redcliffe Musical Theatre’s The Wizard of Oz  was a sparkling reminder of just that. The place was packed with families, including tiny humans in ruby-red slippers. This production took the cherished 1939 film and gave it a stage makeover through the Royal Shakespeare Company’s adaptation by John Kane, keeping all the beloved songs and magic intact. For anyone who’s somehow missed this timeless tale, The Wizard of Oz  follows young Dorothy Gale, swept away from her Kansas farmhouse by a twister and dropped into the vibrant land of Oz. Along the yellow brick road, she meets a Scarecrow, a Tin Man and a Cowardly Lion, each searching for something they already have within themselves (spoiler alert lol). Zoe Hitchcock made for a sweet and sunny Dorothy, radiating sincerity that carried her from Kansas to the Emerald City. Her rendition of ' Over the Rainbow'  was tender and true, and her rapport with Aunt Em (Nikol Trenberth) felt wonderfully natural. The two of them nailed the frantic energy of the opening scenes, though I did wish for a touch more urgency from other surrounding characters to match their intensity like more anger towards Mrs Gulch or fear of the tornado. Glinda, played by Rachel Albrecht in a glittering gown, floated on with grace and a voice as warm as her smile. Her kindness provided the perfect contrast to Dee Heath’s Wicked Witch, who boasted a strong voice and confident command of the stage. I almost wanted her to go even bigger, using bolder gestures to really revel in her gleeful wickedness rather than holding back by clinging to her costume. The journey down the yellow brick road was a joy thanks to three delightful traveling companions. Alex Holmes was born to play the Scarecrow: floppy-limbs, beautiful vocals, and full of endearing cluelessness. His physical slapstick and expressive face delighted the young audience in ' If I Only Had a Brain'.  The crows teasing him were a riot too! Alex clearly has a natural gift for children’s theatre; he knows exactly how to milk every funny line for maximum giggles without losing the heart of the character. Erickson Ilustre’s Tin Man had the audience letting out a synchronised “aww.” With his smooth voice and gentle manner, his ' If I Only Had a Heart'  was as sweet as a lullaby. He played the role with a heartwarming tenderness, while tossing in some effortless humour to make him infinitely likeable. Lucas van Stam pounced onto the stage as Cowardly Lion, with strong physicality and an impressive vocal range. He delivered his lines with gusto and to be fair, he does get some of the best ones! His ' King of the Forest'  may have stretched a little long, likely to buy time for a set change, but Lucas kept the audience entertained with his larger-than-life personality. The Emerald City Guard (Lucas Hanlon) had a short but unforgettable moment, milking it for all it was worth! Meanwhile, Terry Skinner’s Wizard boomed impressively from afar, enhanced by smoke and lighting effects that added a sense of grandeur to his reveal. And Toto might have been the smallest cast member, but he had the biggest fan club. Nearly every lead role in this large cast was double-cast, a good way to give more local performers a chance to shine but less rehearsal time for all. Instead of a live orchestra, they went with recorded backing tracks. This choice occasionally led to some musical cues showing up fashionably late, but the sound balance was clear and well-managed throughout. The tech was ambitious, featuring moving set pieces, a kaleidoscope of backdrops, rainbow lighting design, and even AI-style effects in the tornado sequence. Those tornado visuals could have definitely been improved for a smoother transition into Munchkinland, but once we arrived in Oz, the stage burst to life. And the glowing yellow-brick path was a great lighting surprise! Jill Rowlands’ choreography suited the large ensemble perfectly, keeping movement simple enough for confident singing and bright smiles instead of 'concentration faces'. ' The Merry Old Land of Oz'  sparkled with glitz and energy in lovely costumes, while ' The Jitterbug'  was a speedy-paced standout with neon zoot suits, quick footwork, and impressive stamina from the whole company. Vocally, the ensemble sang mostly in unison, which kept the sound cohesive, though I was hoping for a sprinkle of harmony here and there to spice things up. Some dialogue pacing was challenging with the amount of underscoring, but the cast navigated those moments with focus and patience. The poppy-field scene was a little awkwardly staged, though it was clear the creative team worked within the limits of the space. The kiddos around me were utterly enchanted, the grown-ups smiled knowingly through the nostalgia, and those familiar songs rang out like old friends. This Wizard of Oz  captured the very soul of community theatre — a place of imagination, courage, and heart. It may not have been the most polished Emerald City, but certainly one that sparkled where it mattered most.

Title: GLOW Cabaret: Once Upon A Time Presented By: Phoenix Ensemble – GLOW Cabaret Series Genre: Cabaret / Musical Theatre / Disney Revue Synopsis: Step into the magical world of Disney! GLOW: Once Upon A Time celebrates over 100 years of Disney’s timeless music, featuring beloved classics and modern favourites performed cabaret-style by a cast of diverse, passionate artists. From heartwarming ballads to show-stopping ensemble numbers, this cabaret promises an enchanting evening of nostalgia, magic, and music. Audition Self-Tape Due (if applicable): Submit a video link with your application form Audition Requirements: Complete the performer application form with your details. Submit two Disney song choices (title & show). Upload a headshot for marketing purposes. Provide a video link of you singing (may be one of your submitted songs or previous performance/showreel). Availability for sound check prior to the performance is required. Audition Registration: Apply Here Performance Date: Saturday 27 September 2025 Performance Times: 6:00pm Performance Location: Phoenix Ensemble, Beenleigh Showgrounds, 60 James St, Beenleigh QLD Warnings: Family-friendly performance (Disney catalogue) Performer Age: Open to adults (18+) Other information: Tickets are already on sale: Phoenix Ensemble Limited performance slots available, early application is encouraged. Variety cabaret – soloists, duets, small groups. Songs selected from across the Disney catalogue (classics to modern).

Title: Red Riding Hood: Hood vs Hood Presented By: Sunnybank Theatre Group Genre: Pantomime / Family Comedy Synopsis: Get ready for another thrilling adventure in Storybook Land as Red Riding Hood and her friends return for part three of this exciting saga! Red is preparing for her big birthday celebration, but trouble is brewing in the clouds. The mysterious giant in the sky has his own plans, and things get even more complicated when the dashing Robin Hood arrives to challenge Red for the title of Storybook Land’s greatest hero. With returning favourites such as the Evil Queen, the Woodcutter, Granny, Snow White, Prince Charming, the Candy Witch, the Big Bad Wolf, and Detective Bribe — plus new characters — this magical tale is jam-packed with comedy, music, and adventure! Audition Date: Saturday 30 August 2025 Audition Time: 11:00am – 12:30pm: Wolf 1:00pm – 2:00pm: Children Audition Location and Address: Sunnybank Theatre, 14 Mains Rd, Sunnybank QLD Audition Requirements: Prepare from the sides provided in the audition pack. You may have the script in hand for your audition. Group singing and simple movement required for all characters. Please email a headshot and resume (including previous theatre experience and the role you are auditioning for) to: Ashley@redventureproductions.com Audition Registration: Register Here Audition Pack: Download Audition Pack (PDF) Performance Dates: Friday 7 November – 6:30pm (Opening Night) Saturday 8 November – 1:00pm & 6:30pm Sunday 9 November – 1:00pm (possible extra show) Friday 14 November – 6:30pm (possible extra show) Saturday 15 November – 1:00pm & 6:30pm Sunday 16 November – 1:00pm Friday 21 November – 6:30pm Saturday 22 November – 1:00pm & 6:30pm (Closing Day) Performance Location: Sunnybank Theatre, 14 Mains Rd, Sunnybank QLD Rehearsal Dates: Read Through: Sunday 7 September Rehearsals Commence: Monday 8 September Key Dates: Sunday 12 Oct – Photo/Promo Day Sunday 2 Nov – Dress Rehearsals (11am–6pm) Monday 4 Nov – Dress Rehearsal (6:30pm) Wednesday 5 Nov – Preview Night (6:30pm) Wednesday 12 Nov & 19 Nov – Midweek rehearsals Rehearsal Times: Sundays: 10:00am – 3:00pm Mondays: 7:00pm – 9:30pm Wednesdays: 7:00pm – 9:30pm Performer Ages: Wolf: 25+ Children (1 & 2): 14–20 Jack: 12–18 Creative Team: Written & Directed by Ashley Worsman Production Website: Sunnybank Theatre Auditions Other information: This is the third installment in the popular Red Riding Hood saga. All other roles are already cast. Costume measurements will be taken at audition. Videos of previous productions available on YouTube: Red Venture Productions. Available Roles/Character Breakdown: The Big Bad Wolf (Male, 25+) Dramatic, witty, sarcastic, both comedic villain and vulnerable outsider. No solos, but group singing/movement required. Child 1 (Any gender, 14–20) Sarcastic, cynical, guarded but slowly warms to storytelling. Works closely with Child 2. Child 2 (Any gender, 14–20) Older sibling-type, dismissive at first but becomes actively involved. Narrates alongside Child 1. Jack (Male, 12–18) Cheerful lad trapped in the clouds after the beanstalk fell. Small role, appears in group songs and a short scene with Red & Robin.

Title: The Trail to Oregon! Presented By: Footlights Theatrical Genre: Musical Comedy / Parody / Interactive Synopsis: The Trail to Oregon! is a wild, irreverent, and interactive musical comedy inspired by the classic Oregon Trail video game. A dysfunctional American family journeys westward in search of a better life, facing bandits, dysentery, starvation, snakes, and their own terrible choices. With the audience deciding key plot points — including the characters’ names and who ultimately dies — no two shows are ever the same! Full of outrageous comedy, improvisation, catchy songs, and over-the-top characters, this is a high-energy ensemble piece for bold, versatile performers. Audition Date: Sunday 7 September 2025 Audition Time: 10:00am – 3:00pm Audition Location and Address: Spring Hill Studio, 10 Love St, Spring Hill QLD Audition Requirements: Prepare one comedic musical theatre song and one contrasting song of your choice (backing tracks only, no live accompaniment). Cold read from the script. Roles are gender-inclusive, with opportunities for doubling. Strong comedy, improv, and character versatility are essential. Dance call will be held at 2:00pm – please bring appropriate footwear and clothing. Audition Registration: Register Here Audition Pack: Download Audition Pack Performance Dates: Friday 28 November 2025 – 2:00pm & 7:00pm Saturday 29 November 2025 – 2:00pm Performance Location: Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD Rehearsal Dates: From 14 September 2025 Rehearsal Times: Tuesdays & Thursdays: 6:30pm – 9:30pm (St Peter Claver College, Riverview) Sundays: 1:00pm – 5:00pm (83 Roseneath Parade, Wynnum) Warnings: Contains mature themes and language Performer Age: 18+ Creative Team: Director – Jason Nash Vocal Director – Rhea Basha Choreographer – Meg Bennett Production Website: Footlights Theatrical Auditions Available Roles/Character Breakdown: Father (35–55) Clueless patriarch who insists he can lead the wagon. Enthusiastic, self-important, but loving. Vocal Range: Baritone/Tenor Mother (35–50) The practical, witty backbone of the family who tries to keep everyone alive. Vocal Range: Mezzo-Soprano/Alto Daughter (15–25) Rebellious, sarcastic, smart teen yearning for more. Vocal Range: Mezzo-Soprano Son (10–16, often played by female performer) Sweet, excitable, dim-witted but sincere. Vocal Range: Tenor (unchanged/light voice acceptable) McDoon / The Bandit King (and others) (25–50) Shape-shifting villain; actor doubles multiple flamboyant, outrageous roles. Vocal Range: Baritone/Tenor Cletus Jones / Slippery Snake (and others) (25–60) Versatile comedic track with eccentric frontier characters and shopkeepers. Vocal Range: Baritone/Tenor

Title: Shrek The Musical Jr. Presented By: BeXD Create Genre: Musical Theatre / Holiday Workshop Production Synopsis: Once upon a time there was a little Ogre… and now the hilarious, family-favourite Shrek JR. comes to life in a six-day holiday workshop! Featuring beloved characters like Shrek, Fiona, Donkey, and Lord Farquaad, this musical is full of laughs, heart, and lessons about friendship and self-acceptance. Students will rehearse and perform a fully staged production complete with lights, sound, sets, and costumes — all in just one week. Audition Date: Self-tape due Sunday 7th September 2025 Audition Requirements: Slate (Intro): Introduce yourself, the character(s) you’re auditioning for, experience, and a fun fact. Song: Choice of a pop, musical theatre, or Disney song OR a song from Shrek the Musical. Pick something in your range that shows vocal skill. Audition Side: Choose a script (side) from the provided [Google Folder] for your character, or any side if your character doesn’t have one listed. Dance: A short dance section is required (taught in tutorial video). Combine all sections into one video. Upload as an unlisted YouTube link or cloud link (Google Drive, Dropbox, etc.). Email video link to admin@BeXDcreate.com Audition Registration: You must be registered for the workshop before submitting an audition. Register Here Audition Pack: Audition Information & FAQ Performance Dates: Saturday 4th October, 2025 – 2:00pm & 5:00pm Performance Times: Matinee: 2:00pm Evening: 5:00–6:00pm Performance Location: Riverside Conference Centre, 12 Glenwood Street, Chelmer QLD 4068 Rehearsal Dates: Monday 29th September – Friday 3rd October 2025 Rehearsal Times: Weekdays: 9:00am – 4:00pm daily Show Day (Sat 4th Oct): 9:00am – 6:30pm Performer Age: Ages 6–16 (all experience levels welcome) Production Website: www.bexdcreate.com Other information: Cost: $792 (payment plan available – 6 x $132 instalments). Pizza dinner and activities provided between shows on Saturday. Students BYO meals/snacks throughout the week. Auditions are optional – all participants will be actively involved, regardless of role. Available Roles/Character Breakdown: Lead Roles: Shrek Fiona (Young Fiona, Teen Fiona also featured) Donkey Lord Farquaad Dragon Pinocchio Featured Roles: Gingy Mama Ogre Papa Ogre Little Ogre The Three Little Pigs Ugly Duckling The Three Bears Wicked Witch Big Bad Wolf Peter Pan Storytellers Captain of the Guard Singing Knights Dwarf (Mr. Farquaad) Ensemble Roles: Townsfolk, Fairytale Creatures, Guards, and Storytellers

Title: Sense and Sensibility Presented By: St Luke’s Theatre Society Genre: Classic Drama / Romantic Comedy (adapted from Jane Austen) Synopsis: Jane Austen’s Sense and Sensibility follows the Dashwood sisters, Elinor and Marianne, as they navigate love, heartbreak, and society after the loss of their father. This lively ensemble adaptation captures Austen’s wit, romance, and charm while exploring the contrast between reason and emotion. Audition Date: Monday 1 September 2025 Audition Time: 6:30pm – 8:00pm Audition Location and Address: St Luke’s Anglican Church193 Ekibin Rd, Tarragindi Audition Requirements: Prepare a 2-minute monologue (comedic or dramatic). Be ready for readings from the script on the night. Audition Registration: To register your interest, email Director June Balfour at: juneabalfour@gmail.com Performance Dates: Friday 21 November, 28 November, 5 December at 7:30pm Saturday 22 November, 29 November, 6 December at 2:00pm & 7:30pm Performance Location: St Luke’s Anglican Church, 193 Ekibin Rd, Tarragindi Rehearsal Dates: From September 2025 Rehearsal Times: Monday evenings Wednesday evenings Sunday afternoons Production Website: St Luke’s Theatre – Auditions Other Information: With the exception of Elinor and Marianne Dashwood, all roles will be played by the ensemble. Cast members will perform multiple roles. Full commitment to rehearsals is required. Available Roles/Character Breakdown: Elinor Dashwood – eldest Dashwood sister; sensible Marianne Dashwood – middle Dashwood sister; sensitive Margaret Dashwood – youngest Dashwood sister Mrs Dashwood – mother to the Dashwood sisters John Dashwood – half-brother to the Dashwood sisters Edward Ferrars – a gentleman; a bachelor Fanny (Ferrars) Dashwood – wife to John Dashwood; nasty Colonel Brandon – an older bachelor John Willoughby – an unusually handsome young man Sir John Middleton – a country gentleman; distant relation Mrs Jennings – boisterous, good-natured woman Lady Middleton – a lady of society Lucy Steele – a young girl from no fortune Anne Steele – Lucy’s sister; indiscreet Robert Ferrars – Edward Ferrars’ younger brother Gossips 1–5 – high society chorus Servants (including Thomas) Doctor

Title: The Virgin-Mobile Presented By: Passion Productions Genre: Contemporary Comedy / New Australian Work Synopsis: Fresh, razor-sharp, and dripping with twenty-something chaos — The Virgin-Mobile dives into a night of friendship, fractured relationships, and questionable decisions. When Vienna hosts a party to finally confront her long-term situationship with Mark, cracks in the group begin to show. Secrets spill, tempers flare, and awkward confessions unfold — culminating in a booze-fuelled trip home in her beat-up car, now christened the “Virgin-Mobile.” Written by Amiel Simpson and directed by Jack Winrow, this premiere production is as honest as it is hilarious. Audition Date: Saturday 30 August 2025 Audition Time: By appointment (individual auditions) Audition Location and Address: Building Z9, QUT Kelvin Grove Campus Audition Requirements: Prepare a monologue that best showcases your performance style (from plays, films, TV, or other sources) Creative interpretations and bold choices encouraged Be prepared for possible cold reads on the day Wear comfortable clothing suitable for movement Arrive 10 minutes early for your scheduled time Audition Registration: Book your slot here Audition Pack: Download Here Performance Dates: Season runs Saturdays & Sundays from 15–30 November 2025 (6 shows total) Performance Location: Venue TBA (Brisbane) Rehearsal Dates & Times: Rehearsals start 9 September 2025 Tuesdays 5:00pm–8:00pm Sundays 10:00am–4:00pm Possible additional evenings closer to opening Warnings: Mature themes, coarse language, alcohol references Creative Team: Playwright: Amiel Simpson Director: Jack Winrow Production Website: Passion Productions Other Information: No production fees; unpaid community theatre Optional Passion Productions membership Cast must promote the production on social media and be script off-book by 14 October Available Roles/Character Breakdown: Vienna – University graduate-to-be, people-pleaser, reluctant host trying to fix everyone’s problems Mark – Easy-going but blunt, Vienna’s situationship, distracted by matchmaking attempts Morgan – Music student, overtly honest, recovering from a messy breakup with Shoe Shoe (Harrison) – Prideful, confident, and a self-styled womaniser with a messy history Asaiah – Vienna’s church friend, awkwardly set up with Kake, battling insecurity Kake (Kate) – Sharp-witted newcomer to the group, skilled baker with a trail of messy exes

Queensland Academy of Excellence in Musical Theatre (QAEMT) Third Year Cohort, QLD Conservatorium Griffith University Queensland Conservatorium Theatre – Directed by Alister Smith, Choreography by Dan Venz, Musical Direction by Nigel Ubrihien There are some shows you can see over and over again and still leave breathless. A Chorus Line  is one of those for me.  QAEMT’s third-year cohort at Queensland Conservatorium Theatre cemented it yet again as a highlight of 2025’s already stacked season.   This production, directed by Alister Smith, was much more than just another student showcase. It was a perfect marriage of material and performers – a show about young artists baring their souls, performed by emerging triple-threats who were, in many ways, telling their own truths too. With the Conservatorium celebrating its 50th year, QAEMT its 15th, and A Chorus Line  turning 50 itself, the production felt like a milestone moment of synchronicity.   A Chorus Line  is unique in its DNA. Set on the bare stage of a Broadway theatre, the musical follows seventeen Broadway dancers auditioning for eights spots in a chorus line. It was built from real-life interviews with dancers. It gave voice to the anonymous chorus… no fictional characters, but working-class performers of New York City telling their stories. At its core, it celebrates resilience, desire, and the dream of being seen. And what better vehicle for a graduating cohort to step into than this? The opening number exploded with energy as the entire cast (with small and welcome appearances from the first and second year students) leapt into Dan Venz’s demanding choreography. It wasn’t quite the choreography I was expecting, but it was every bit as precise, exhausting, and impressive. As the line was taped across the bare stage and the spotlights lowered, the audition truly began. Penny Challen’s design – mirrors and a line, just like a rehearsal studio – gave the performers nowhere to hide, a perfect metaphor for reflection and exposure. Steve Thornely’s sound design was highly effective, letting the music of Nigel Ubrihien’s orchestra soar without drowning out the voices.   One of the joys of A Chorus Line  is meeting each character through their stories and numbers, and this cast delivered them with colour, humour, and heartbreak. Croft Phillips as Mike bounded through “I Can Do That” with splits and leaps, already impressive so soon after the frenetic opener. Chloe Flanagan brought delightful chaotic energy as Judy, while Kate Hudson-James (Bebe) and Charlie Preston (Maggie) joined Brydie Faith Hall’s pitch-perfect Sheila in a hauntingly beautiful “At the Ballet,” a number that captures the pain of the past and the salvation of the stage. Their voices blended with sweet vulnerability, enhanced by ballet lifts from Mateja Sardelis (Diana) and Ella Rose Harding (Cassie). Brydie embodied Sheila’s alluring attitude perfectly: confident yet uncertain about exposing her soul.   Cooper Swain (Bobby) had the audience in stitches with his monologue, his sharp delivery balancing comedy with honesty. Christina Keen was charming as the delightfully tone-deaf Kristine, her comedic “Sing!” duet with Saul Kavenagh’s standout Al landing perfectly. Watching Christina screech off-key with such control (never easy to do as a trained singer!) was fantastic, while Saul’s charisma and smooth vocals marked him as a highlight among the men. Max Baldock led the cheeky “Hello Twelve, Hello Thirteen, Hello Love” – the TMI anthem of puberty – with outstanding choreography and an ensemble that leaned into every awkward moment brought on by adolescence.   Mateja Sardelis’s Diana shone in “Nothing,” her effortless belt and charisma making the number unforgettable. Niamh Cadoo-Dagley (Richie) tore up the stage with vocal runs so high and effortless it was almost dizzying. Ned Kelly (Greg) and Olivia Horne (Val) milked every laugh in their saucier moments. Olivia’s “Dance Ten, Looks Three” was particularly striking, switching seamlessly between belt and falsetto before topping it off with a knockout opt-up.   Sage Del Carmen’s Paul gave the show its most poignant moment. With a chocolaty vocal tone, natural delivery, and exquisite storytelling ability, their monologue held the room in utter stillness. Meanwhile, Samuel Henderson’s Zach boomed from behind us, the unseen yet omnipresent director commanding the stage even in absence. Ella Rose Harding’s Cassie was luminous: a true triple threat. Her monologue-duologue with Zach was electrifying: a tense exchange about ambition, dreams, and past love. Her performance of “The Music and the Mirror” was a complete tour de force; a blend of lyrical arms, bouncy jazz choreography, and dazzling vocal power. She pulled off a back-bend to die for, some mesmerising mirror moments, and still managed to sing with crystal clarity. Her long lines, her bouncy curls, her hypnotic presence… she was impossible to look away from. The orchestra, made up of Conservatorium musicians under Nigel Ubrihien’s baton, went wild for this number. And honestly, so did I.   The ensemble impressed me endlessly, working as a tight unit then always returning to their “character pose.” They never broke from character, sustaining excellent dialect work that reflected dancers from every corner of the U.S. Of course, the emotional core of A Chorus Line  lies in its existential questions: what happens when the dream ends? What do you do when you can’t dance anymore? “Dreams don’t pay the rent. Bodies don’t last forever, ” Zach reminds them, as starkly as only a director can. And then that line: “Am I copping out? Am I growing up?”  – the character considering teaching as a backup plan. I felt that one in my bones...  As the cast sang “What I Did for Love,” I was riveted. It remains one of my favourite ensemble numbers in all of musical theatre, and this group delivered it with aching sincerity. And like Greg says, sometimes it’s about taking it one day at a time, enjoying your youth while you have it.   The finale was everything you want it to be: gold sparkles, full-power vocals, impossibly tight choreography, and the famous kickline that seemed to stretch on forever. Seeing the orchestra revealed upstage only heightened the thrill of the final image: a unified, dazzling company of performers, each one a star in their own right, coming together as “One.”   This production of A Chorus Line  was the perfect vehicle to showcase the depth, range, and resilience of QAEMT’s graduating class. Each student bared not just their character’s story, but a glimpse of their own artistry and future. Under Alister Smith’s direction, Dan Venz’s choreography, and Nigel Ubrihien’s meticulous musical direction, it became a masterclass in commitment and passion. With design by Penny Challen, and the polish of Keith Clark’s lighting and Steve Thornely’s sound, the show was as technically strong as it was emotionally resonant. With passion pouring out of every beat, it was clear: these dancers, singers, and storytellers have something vital to say and a long line of stages ahead of them.

Title: Agatha Christie's The Mousetrap Presented By: Nash Theatre Genre: Mystery / Crime Thriller Synopsis: In Agatha Christie’s legendary murder mystery, a group of strangers are stranded at Monkswell Manor during a snowstorm — and one of them is a murderer. As tensions rise, secrets unravel, and suspicions threaten to destroy relationships, a relentless detective races to unmask the killer before another victim falls. This timeless classic has been keeping audiences guessing for over 70 years, with a twist ending that’s famously kept secret. Audition Date: Sunday 7 September 2025 Audition Location: Nash Theatre New Farm Audition Requirements: Cold read from the script (provided on the day) Contact director Sharon White to register: sharon_white_@hotmail.com Performance Dates: Preview: 14 November 2025 Opening Night: 15 November 2025 Evenings: 21, 22, 28, 29 November; 5, 6 December 2025 (Fridays & Saturdays) Matinees: 22 & 29 November 2025 Performance Location: Nash Theatre New Farm Creative Team: Director: Sharon White Production Website: Nash Theatre Auditions Available Roles / Character Breakdown: Mollie Ralston – Female, 30s; Young owner of Monkswell Manor, recently married to Giles. Giles Ralston – Male, 30s; Mollie’s husband, attractive, arrogant. Christopher Wren – Male, 30s; Flighty, neurotic, guest at the Manor. Mrs. Boyle – Female, 50s; Stern, bad-tempered guest who complains constantly. Major Metcalf – Male, 60s; Retired British military officer. Miss Casewell – Female, 30s; Masculine demeanour, aloof and mysterious guest. Mr. Paravicini – Male, 50–60s; Foreign gentleman stranded by the snowstorm, eccentric. Detective Sergeant Trotter – Male, late 30s; Arrives on skis to investigate a prior murder’s connection to the guests.

Title: Anastasia: Youth Edition Presented By: Brisbane Junior Theatre Genre: Youth Musical Theatre Synopsis: Step into a world of mystery and adventure in Anastasia: The Musical. This dazzling production follows Anya, a brave young woman determined to uncover the truth of her past. Set against the fall of the Russian Empire and the vibrant streets of 1920s Paris, she teams up with a charming con man and a warm-hearted ex-aristocrat, all while being pursued by a relentless Soviet officer. Anastasia is a heartwarming story of identity, courage, and belonging — a journey to find home, love, and family. Audition Intensive: Date: Saturday 6 September 2025 Time: 12:00pm–3:00pm Location: Emerge Church Upstairs Studio, 1 Coorparoo Road, Warner QLD 4500 Cost: $50 Details: This workshop will prepare actors for auditioning — covering monologue delivery, characterisation, physicality, projection, accents, and style, plus acting while singing and telling a story through song. Each participant will receive individual feedback from the directors. Audition Date: Saturday 13 September 2025 Audition Time: 1:00pm–5:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Audition Self-Tape Due: Contact BJT if unable to attend in person Audition Requirements: Open to all young performers — everyone who auditions will be cast Auditions required for lead roles, minor roles, featured dancers, or soloists Prepare and memorise the required monologue (younger children may do a shorter excerpt) Prepare the required song to perform, with characterisation and acting while singing Dance component included Audition materials available here: Audition Pack Audition Registration: Register Here Rehearsal Dates: Monday 22 – Friday 26 September 2025, 8:30am–5:00pm daily Rehearsal Location: Emerge Church, 1 Coorparoo Road, Warner QLD Performance Dates & Times: Friday 26 September 2025 – 6:00pm & 8:00pm Saturday 27 September 2025 – 12:00pm & 2:00pm Performance Location: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Production Website: Brisbane Junior Theatre