Title: Bonnie & Clyde Presented By: Phoenix Ensemble Genre: Musical / Drama / Crime Synopsis: Set in Depression-era America, Bonnie & Clyde tells the electrifying story of two small-town dreamers turned infamous outlaws. When Bonnie Parker meets Clyde Barrow, sparks fly, and together they chase fame, fortune, and freedom at any cost. With a sizzling score blending rockabilly, blues, and gospel, this high-energy musical dives into the passion, danger, and legend behind the most notorious couple in American history. Audition Date: Monday 15 December 2025 Audition Time: 6:00pm – 7:00pm Audition Location and Address: Phoenix Ensemble (The Pavilion Theatre, “The Tin Shed”)Beenleigh Showgrounds, James Street, Beenleigh QLD Audition Requirements: Prepare the assigned sections of “Picture Show” – sing along to the provided backing track at the audition. Rehearsal tracks and sheet music are available online. Young Bonnie will also perform a short acting scene with an adult reader (Bonnie’s mother). No memorisation required. Both roles require a Southern American accent — natural and authentic. Please wear comfortable clothes suitable for basic movement. Important: Parents/guardians should note that while these characters do not appear in violent scenes, the full production includes mature content (guns, fake blood, staged intimacy, and deaths). The creative team—comprising qualified teachers—will ensure these scenes are handled sensitively, and all adult cast hold Blue Cards. Audition Registration: Book your audition at www.phoenixensemble.com.au/audition If you experience issues, email auditions@phoenixensemble.com.au for assistance. Audition Pack: Download Full Audition Pack (PDF) Audition Materials: Access rehearsal tracks, backing music, and script excerpts here Performance Dates: Friday 20 February – Saturday 6 March 2026 Performance Times: Friday evenings, Saturday matinees and evenings (no Sunday performances) Performance Location: Phoenix Ensemble, Pavilion Theatre (“The Tin Shed”), Beenleigh Showgrounds Rehearsal Dates: Commencing Wednesday 17 December 2025 (immediately after auditions) Rehearsal Times: Mondays & Wednesdays – 7:00pm to 10:00pm (children until 9:00pm) and Sundays – 1:00pm to 6:00pm Parents will receive schedules at least two weeks in advance. Additional technical rehearsals may extend later in the evenings closer to opening. Warnings: Mature themes, violence, guns, staged intimacy, and blood effects Performer Age: 10–15 years Creative Team: Director – Kym Brown Musical Director – Sally Faint Choreographer – Julianne Clinch Production Website: phoenixensemble.com.au/audition Available Roles / Character Breakdown: Young Clyde - Male-presenting, playing age 10–12. Bold, restless, and curious — already dreaming of adventure and rebellion. Must sing solo and deliver light dialogue with a natural Southern American accent. Vocal Range: Bb3–D5. Young Bonnie - Female-presenting, playing age 10–15. Bright, imaginative, and full of big dreams of fame. Must sing solo and act in a short scene portraying Bonnie at ages 10 and 15. Vocal Range: C#4–C5. (Both roles appear in Act 1 and briefly in Act 2. May also participate in select ensemble scenes.)

Title:   Steel Magnolias Presented By:  Noosa Arts Theatre Genre:  Drama / Comedy / Ensemble Play Synopsis: Set in a small Louisiana town, Steel Magnolias  tells the story of six remarkable women whose lives intersect in Truvy’s beauty salon. Between haircuts, weddings, and heartbreak, their bond becomes a testament to love, resilience, and the strength found in friendship. Filled with warmth, wit, and emotional honesty, this beloved play captures the humour and heartache of real life and celebrates the quiet heroism of everyday women. Audition Dates: Monday 24 November 2025 and Wednesday 26 November 2025 Audition Time: 6:00pm – 8:00pm Audition Location and Address: Noosa Arts Theatre, 163 Weyba Road, Noosaville Audition Requirements: Prepare one monologue for the role(s) you wish to audition for (see audition material list). Be ready to read selected duologues with other actors to explore chemistry and ensemble work. Please perform with a Southern (Louisiana) accent — authentic and natural, not exaggerated. This is an ensemble piece: connection, truth, and subtlety are key. Audition Registration: Contact Production Manager Margaret Courtney to book an audition time. 📞 0407 450 621 | 📧 theperegianpair@hotmail.com Margaret will provide an audition form via email, or you can download it directly from the theatre’s website. Production Website: Noosa Arts Theatre Performance Dates: 19 – 29 March 2026 Performance Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville Rehearsal Dates: Commencing early January 2026 Rehearsal Times:  Tuesday evenings (time TBA) and Saturdays 10:00am–4:00pm Warnings:  Mature themes, mild adult language, and emotional content Performer Age:  Adult performers (18+ recommended) Other Information: • All cast members must be financial members of Noosa Arts Theatre (insurance requirement). Membership must be paid prior to commencing rehearsals. By accepting a role, you agree to adhere to the Actor’s Code of Conduct. Please list all unavailable dates on your audition form. Available Roles / Character Breakdown: M’Lynn Eatenton (40–50) Shelby’s devoted mother. Intelligent, strong, protective, and deeply loving. Emotionally rich role with a powerful final scene. Shelby Eatenton-Latcherie (21–29) The play’s radiant heart. Beautiful, joyful, and determined, yet fragile. Her courageous choices drive the story. Truvy Jones (40–55) Owner of the beauty salon. Warm, talkative, and endlessly caring. Loves gossip and glamour. Clairee Belcher (60s–70s) Stylish, sharp-witted widow of the former mayor. Her dry humour and grace make her unforgettable. Ouiser Boudreaux (60–70) Gruff, eccentric, and hilarious. Tough exterior but a deeply loyal, soft-hearted friend. Natural comic timing essential. Annelle Dupuy-Desoto (19–29) The shy newcomer to town who blossoms through faith and friendship. Sweet, sincere, and full of growth.

Title: Sleeping Beauty (Pantomime) Presented By: Little Seed Theatre Company in collaboration with Noosa Arts Theatre Genre: Family Pantomime / Musical Comedy Synopsis: This hilarious, heart-warming pantomime brings the classic fairy tale to life with songs, dancing, and plenty of laughter! When the wicked Carabosse curses baby Princess Aurora, it’s up to the good Lilac Fairy, some lovable villagers, and a brave prince to save her. Featuring colourful characters, cheeky comedy, and big musical numbers, Sleeping Beauty promises a magical experience for audiences of all ages. Audition Times: Saturday 15 November 2025 (Acting/Singing) Acting/Singing: 1:30pm–5:00pm (individual time slots) Monday 17 November 2025 (Dance Audition & Callbacks) Dance Audition: 6:15–6:45pm (all auditionees attend) Callbacks (if required): 6:45–7:45pm Audition Location and Address: Acting/Singing: Noosa Environmental Centre, 9 Wallace Drive, Noosaville Dance/Callbacks: Noosa Leisure Centre Dance Studio, 9 Wallace Drive, Noosaville Audition Self-Tape Due (if applicable): If you are unable to attend in person, email jo@little-seed.com.au to organise an alternative arrangement. Audition Requirements: Prepare one of the short scripted scenes and a verse/chorus of a pop song (with a backing track). Bring your own device and small speaker, or email your track to francine@little-seed.com.au before the audition. Acting and singing auditions are booked individually; dance auditions are a group session. Bring your printed, completed audition form. All auditionees will be considered for all suitable roles. Audition Registration: Applications close 5pm Friday 14 November 2025. Book your individual 5-minute audition slot via: Calendly – Sleeping Beauty Auditions Audition Pack: Download Here Performance Dates: Saturday 10 January – Sunday 18 January 2026 Performance Location: Noosa Arts Theatre Rehearsal Dates: Saturday 22 November 2025 – Thursday 8 January 2026 Rehearsal Times: Mix of weekday evenings, weekends, and daytime rehearsals (see full schedule in audition pack) Performer Age: 9–18 years Creative Team: Director – Johanna Wallace, Musical Director & Choreographer – Francine Cain Production Website: www.little-seed.com.au/auditions Partner Venue: www.noosaartstheatre.org.au/auditions Other Information: Open to all – you do not need to be a Little Seed student. No participation fee. Arrive 15 minutes before your slot and bring all printed materials. Performers must consent to promotional photography and video. Available Roles: Prince Florimund – Charming and heroic; the brave rescuer of Sleeping Beauty. (15–18) Princess Aurora – Sweet, kind-hearted heroine; graceful and optimistic. (15–18) King Florestan – Wise ruler and loving father. (12–18) Queen Scatty – Energetic, dramatic, and not-so-wise; full of personality. (12–18) Lilac Fairy – The good fairy; compassionate and powerful. (12–18) Lilac’s Apprentices (2) – Energetic fairies-in-training; playful and loyal. (Any age) Carabosse – The wicked witch; fierce, funny, and dramatic. (12–18, any gender) Odz – The village idiot’s brother; clumsy and comedic. (15–18) Enz – Odz’s partner-in-chaos; silly and endearing. (15–18) Dame Penelope Stamp – A witty, larger-than-life widow. (15–18) Ladies & Gentlemen of the Chorus – Courtiers, fairies, villagers; ensemble singing and dancing. (9–18)

Presented by: La Boite Theatre in association with Griffin Theatre Company Written by: Dylan Van Den Berg Co-directed by: Declan Greene and Amy Sole Cast: Joseph Althouse and Danny Howard Warnings: Recommended for audiences aged 15+. Contains loud noise, blinding lights, simulated sex scenes, weapons, and descriptions or representations of colonial violence. Photography : Prudence Upton “You could pass for a white fella… except for your voice and your face and your hair and your skin.” Beneath the branches of a lemon tree, two teenage boys meet. It is more than 200 years ago, on Aboriginal Country, and the world they know is on the brink of being declared something new. In another life, they might simply have been two boys falling in love under the moonlight. But history, as we know, had other plans. Written by Palawa playwright Dylan Van Den Berg , Whitefella Yella Tree  is an unflinching two-hander co-directed by Declan Greene  and Amy Sole . Together they craft a story that feels both ancient and immediate; a tale of young love, Country, and survival that glows with humour, pain, and profound beauty. The set, designed by Mason Browne , is minimal and beautifully evocative, with a wooden stage in the round and above it all, the hanging branches of the lemon tree looms like its own character: a shelter, witness, and silent companion, symbolising everything that grows, ripens, and falls. It is here that Ty  (Joseph Althouse, Pertame and Tiwi ) and Neddy  (Danny Howard, Barrd, Yamatji, Noongar, Bunuba, and Ngadju ) are tasked with exchanging messages between their communities: River Mob and Mountain Mob. What begins as duty slowly becomes friendship, then something deeper and far more dangerous in the eyes of the world to come. Althouse and Howard play Ty and Neddy with truth and youthful spirit. They first appear as 15-year-olds, full of curiosity, teasing, and playful energy. It’s immediately believable: the cheeky banter, the awkward bravado, the shy laughter, the flashes of vulnerability. Neddy is the brawny, impulsive one: tough on the outside, vulnerable on the inside. He is quick to laugh, quick to anger, and desperate to protect. Ty is thoughtful, gentle, and deeply connected to the stories of his people. Together, their delivery of the play’s humour gives the story levity. Both their performances feel timeless, like two halves of a whole. Danny’s storytelling is disjointed and brash in a way that feels entirely true to his character Neddy, while Joseph draws us in with quiet wisdom and intimacy of Ty that holds the audience in stillness. Their chemistry is like witnessing something private and precious; a connection free of shame or judgement, simply two boys discovering themselves and each other. It’s rare and beautiful to see queer love presented with such purity, unburdened by the external or internal lens of guilt or fear. At first... But what happens when the messy, awkward parts of first love collide with the violence of invasion? Their tender love unfolds in a world that feels as if it might hold them safe, but as the whitefellas colony creeps closer, it threatens not just their Country but their right to love. As moons pass, their meetings beneath the lemon tree chart the changing seasons of both their relationship and their world. What begins with curiosity about the whitefellas (e.g. their sheep described as “clouds with legs”) soon turns to fear as invasion looms closer, bring with them their guns, dogs, and disease. Steve Toulmin’s  sound design gives chilling life to the unseen colonists. The crackle of fire, the barking of dogs, and the escalating roar of destruction become an assault on my hearing, a necessary one. It is loud, violent, and overwhelming. The horror is never shown on stage, but it is felt deeply through these elements and had my heart pounding with stress. Kelsey Lee  and Katie Sfetkidis’  lighting design is extraordinary, using subtle shifts of colour and brightness to chart time passing. I found myself holding my breath through the blackouts, where sound takes over and lemons fall from above like tears from the sky, punctuating each silence with a visceral jolt! Under the direction of Greene  and Sole , the piece feels intimate and intuitive. The staging often asks us to fill in the blanks. A moment of the boys lying side by side is simply shown by them standing together against the set. The production trusts its audience to imagine, to listen, and to feel. Because this is not just theatre about history; it is theatre that embodies history, inviting us to feel its weight through movement, sound, and storytelling. As the years pass, both boys grow older. Their voices drop. Their innocence fades. The world around them hardens. Neddy, desperate to find his sister who was taken, begins to engage with the colonists, taking on their clothes, their drink, their faith, and their shame. Ty remains with his Mob, guided by his Elders and struggling to hold their stories in a mind too full of grief as their numbers dwindle. The gulf between them becomes immense. Neddy’s new beliefs tell him that a man cannot love another man. His shame and confusion collide with the memory of who he was before. When Neddy whispers, “We’ve got to stay safe,” and Ty shouts back, “Where’s safe?!” those words hang heavy in the air. It’s not just their question; it’s the question for every generation of First Nations since that were torn apart by forces beyond their control. Van Den Berg’s writing captures the poetry of Country and the brutality of colonisation without ever losing sight of humanity. The play reminds us that queer love has always existed on this Land and that it continues to thrive in defiance of history’s attempts to erase it. The arrival of the First Fleet marked the end of the isolation of Aboriginal and Torres Strait Islander peoples and began a period of dispossession, violence, and disease that decimated communities. And yet, this play is not a story about loss alone, but about what could not be destroyed: love, laughter, connection, and resilience. First staged in 2022 on a small Sydney stage, I’m so grateful this work has found its way to Brisbane. Whitefella Yella Tree  is a piece of immense heart and importance. It lingers like the taste of lemon on your tongue, sharp, bright, and unforgettable. I left La Boite Theatre tear-streaked but full of gratitude, for storytellers like Dylan Van Den Berg, for artists like Joseph Althouse and Danny Howard, and for the privilege of witnessing a love story so beautifully told on Country. It’s history, heartbreak, and hope intertwined, a reminder that even in the darkest chapters, love still endures.

If you enjoy Sondheim, go see this show. If you don’t enjoy Sondheim, still go see this show. Because this Into the Woods  isn’t just another revival of the Tony Award-winning musical; it’s the perfect tale to launch Ad Astra’s newly refurbished Galaxy into orbit. Once the home of Brisbane Arts Theatre, this intimate, elegant space now gleams with new life. Even on the night of the NRL Grand Final (which stole every other crowd in Brisbane), this audience turned up loud and proud! Our laughter and cheers rippled through the room, egging the cast on to play even bigger, sillier, bolder! You could feel that delicious feedback loop that only live theatre can create; the unpredictable give-and-take between performer and spectator that makes every show a one-of-a-kind experience. The cast absolutely thrived on it; telling me afterward that they had amped up the emotion and improv purely due to our reactions. The Story Into the Woods  is a masterwork of moral chaos from Stephen Sondheim (music and lyrics) and James Lapine (book). It brings together a mismatched bunch of familiar fairy-tale favourites — Cinderella, Little Red Riding Hood and the Wolf, Jack and the Giant, Rapunzel and the Witch, and a cursed Baker and his Wife — all desperate to have their wishes granted. Of course, as Sondheim so deliciously reminds us, getting your wish doesn’t necessarily mean getting what you want.   The Cast Where to even begin? This is one of those ensembles where every character feels distinct, well-crafted, and memorable. Stephen Hirst  and Heidi Enchelmaier , real-life married couple and on-stage Baker and Wife, are absolute couple goals. Their chemistry is naturally effortless (obviously), their banter sharp, and their duet It Takes Two  radiates warmth. Stephen’s portrayal of the hapless, well-meaning Baker hits just the right mix of heart, while Heidi as Baker’s Wife is all wit, warmth, and steel pragmatism. Her Moments in the Woods  is tender, funny, and vocally divine. Stephen also delivers an emotional gut punch in the lesser-known No More  (get close seats to see his tears shining!) Carla Beard  is an absolute spark plug of a Red Riding Hood (septum piercing and all). I adore this interpretation: tomboy edge, tough, feisty, and far more streetwise than she looks. I Know Things Now  is beautifully handled through her journey from wide-eyed innocence to sharp-tongued survivor. Jordan Malone  is a dream as Cinderella: poised, expressive, and vocally pristine. On the Steps of the Palace  (a rhythmic nightmare I fear) lands with crystalline diction. Later, she anchors the ensemble emotionally in No One Is Alone  in a touching, tear-prickling exchange with Carla. Alex Watson  brings bright-eyed energy (in a backwards baseball cap!) as Jack. Giants in the Sky is one of the freshest takes I’ve seen: vocally flawless, emotionally grounded, and framed by a cinematic swirl of fog below. Josh Whitten doubles as the Wolf and Steward. As the Wolf (British, charming, dangerously magnetic “innit?”), he’s so persuasive I might’ve followed him off the path myself. Hello, Little Girl  is gorgeously lit: soft hues as he tempts Red Riding Hood, snapping to ominous blood-red as his thoughts turn predatory. Later, as the Steward, he’s a riotous foil to Elliot Baker’s Prince. Speaking of princes: Elliot Baker  (Cinderella’s Prince) and Jaya Fisher-Smith  (Rapunzel’s Prince) are dynamite. Agony  prompts many girlish giggles and snorts from the audience (mostly from me). I’m personally obsessed with both their voices, plus the excellent comedic acting, superb blocking, and slapstick humour are perfection. The reprise is just as good, as they muse on being unsatisfied with their “happy ever afters.” Elliot is a riot every time he appears: clueless, extra, and gloriously self-obsessed. While Jaya is equally brilliant: goofy, flamboyant, and utterly over the top. With the true voice of a prince, Elliot's Any Moment  is, indeed, a truly great moment. Natasha Veselinovic brings power and depth to the Witch. Vocally, she’s untouchable. The Last Midnight shakes the rafters and her acting choices are strong, but I did crave more chaos from her in Act 1. This Witch could afford to feel a little more unhinged and frightening. And the button blackout at the end of The Last Midnight  didn't land. It's a small tech fix that will provide that thrilling full-stop the song deserves. Aysa Garcia Wong’s  Rapunzel is luminous, her voice cutting through the chaos like silk. She and Natasha play their fraught mother–daughter dynamic convincingly, despite the literal mask barrier. James Shaw , doubling as the Narrator and Mysterious Man, is suave, grounded, and quietly ethereal. He bridges the story and the audience with ease; always observing just outside the unfolding action. And his duet with Stephen is genuinely moving (helped, amusingly, by the fact that the two actually look related). Aurélie Roque  gives a riotous turn as Jack’s Mother in a crazy bold accent (side note: everyone has different accents, so don’t be surprised!) and I only wish she had more stage time. Chloe Rose Taylor  (multi-tasking as Stepmother, Cinderella’s Mother, and the iconic Grandma), Akansha Hungenahally  (Florinda), and Jaya Fisher-Smith  (Lucinda) triple the chaos as the giggling steps trio. Paige   McKay as Milky White, the mute (slightly unsettling) cow puppet, is oddly adorable and wins hearts without saying a word. Every performer in this cast has carved out a unique version of their character. Nobody fades into the background. You can tell there’s been real thought put into each portrayal, and it pays off in spades. The Creative Team Under the direction of Tim Hill , this production keeps the humour sharp, the pacing tight, and the moral lessons deeply human. Into the Woods  is, after all, a musical about consequences, and this cast handles them beautifully. Hill’s direction and set design work hand-in-hand, making great use of the aisles and balcony. The cast frequently moves among the audience, breaking the fourth wall just enough to make us feel complicit in these wishes gone wrong. The set itself is a visual treat too: a living, breathing for est of tangled vines, trees, and timber slats across the rear that allows Andrew "Panda' Haden's  lightin g to spill through in shifting colours. That runway of lights as Cinderella flees the ball is a particularly pretty touch. The band, led by Ben Murray , sits upstage behind the foliage. Tackling Sondheim’s famously complex score is no small feat, and Ben’s musicians deserve every ovation they get. Your Fault  (my personal favourite) is razor-sharp and everything I dreamed it to be. Tess Hill’s  choreography adds texture rather than spectacle, which is exactly right for this show: organic, character-driven, and full of wit. Costumes by Tess Hill  and Jem Hill  lean modern-fantasy: Red’s playsuit, Jack’s streetwear, and the Stepsisters’ hoop-frame silhouettes are fun. My only real misstep is the Witch’s design. In Act I, she’s covered in a heavy brown cape and an eye-mask that hides all her facial nuance during Stay With Me (one of the most emotional songs of the act). I truly wish we could see her face clearer in that moment. Her second look in Act II, an emerald gown, is exquisite in colour, but a dramatic cape would sharpen her unsurpassable presence. Still, these designs reflect Ad Astra’s adventurous spirit, something I admire deeply. This isn’t a cookie-cutter production; it’s layered, interpretive, and full of personality.   The Experience Act I is a laugh-fest thanks largely to comedic powerhouses Heidi, Stephen, Jaya, Josh, Carla, and Elliot, and the way they play off each other. Act II deepens into something darker as the fairy tale frays and the wishes unravel into themes that are painfully human, There are moral dilemmas, heartbreak, regret, adultery, violence, fear, death — and somehow, hope. As one lyric warns, “Children may not obey, but children will listen.” (Or my personal favourite: “Children are a blessing… if you know where they are.”) By the time the company joins in No One Is Alone , the emotional impact lands hard. You can feel the show’s moral core: wishes have repercussions, good and evil are rarely clear-cut, and “no one stays untainted by the world.” At roughly three hours, Into the Woods  is a long tale but every minute is worth it. A few practical notes: the theatre can get very chilly, and the accessibility features are still in progress. For visual access to the balcony scenes, and for catching the finer details of faces, tears, and nuance, I recommend sitting within the first four rows. And for the love of all things theatrical: remember do not leave at interval! Act I only pretends  to be a happy ending. That’s the point. The best (and worst) comes after. Ad Astra’s Into the Woods  is a triumph — wonderfully cast, tightly directed, musically rich, and full of heart. It’s a fitting christening for the Galaxy Theatre: an extraordinary celebration of storytelling and the magic of the stage. Don’t wish — go! Tickets here Photography by: B’rit Mobbs, By Brit Crea tive

Title: Heathers: The Musical (Teen Edition) Presented By: BG Performing Arts Genre: Dark Comedy / Musical Theatre Synopsis: Heathers: The Musical (Teen Edition) is a darkly funny, high-energy rock musical about teenage power, popularity, and the dangers of fitting in. Veronica Sawyer is a smart, misunderstood teen who finds herself pulled into the world of the beautiful but cruel Heathers—the most popular girls at Westerberg High. When she falls for the mysterious new kid J.D., her life spirals into chaos and revenge. This teen-adapted version captures the bold spirit of the cult classic while addressing themes of bullying, self-worth, and peer pressure with sensitivity and humour. Audition Date: Sunday 14 December 2025 Audition Time: 12:30pm – 5:30pm Audition Location and Address: BG Performing Arts Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video submissions available — email info@bgperformingarts.com Audition Requirements: Auditions are required for those seeking lead, featured, or soloist roles. Ensemble performers are encouraged to attend auditions. All music and choreography will be taught on the day. Familiarise yourself with the singing and acting materials in the Dropbox link Audition Registration: Complete the Audition Registration Form before attending. Registrants must pay the workshop fee prior to audition day. Audition Pack: Download Audition Pack via Dropbox Performance Dates: Saturday 24 January 2026 Performance Times: 2:30pm & 7:30pm Performance Location: Everton Park SHS Performing Arts Centre, 668 Stafford Road, Everton Park QLD 4053 Rehearsal Dates: Monday 19 – Friday 23 January 2026 Rehearsal Times: Mon–Thu: 9:00am–5:00pm (Bowen Hills Studio) Fri: 9:00am–8:30pm (Everton Park SHS) Warnings: Mature content – references to bullying, mental health struggles, mild violence, and mild sexual themes. Parental guidance recommended. Performer Age: 13+ Creative Team: Director: Sam Caruana Musical Director: Kate Baxter Choreographer: Bella Gordon Production Website: bgperformingarts.com/audition-information-heathers-2025 Contact: info@bgperformingarts.com Other Information: Cost: $400 (covers rights, royalties, staff, set, props, and venue hire). Additional costume hire fee may apply. All participants must be available for the full rehearsal period. Available Roles/Character Breakdown: Veronica Sawyer – Smart, witty teen navigating friendship, love, and morality. J.D. (Jason Dean) – Charming, damaged new kid with a dark streak. Heather Chandler – The ruthless, magnetic leader of the Heathers. Heather McNamara – Sweet but naive follower who hides insecurity. Heather Duke – Ambitious and resentful, waiting for her turn to rule. Martha Dunnstock – Kind, optimistic, bullied student with a huge heart. Ram Sweeney & Kurt Kelly – Popular football players, arrogant and comedic. Ms Fleming – Overzealous teacher seeking attention and purpose. Parents & Teachers Ensemble – Adults navigating chaos with misguided wisdom. Students Ensemble – High schoolers, partygoers, and background characters.

Title: Shrek KIDS Presented By: BG Performing Arts Genre: Musical Theatre / Family Synopsis: Based on the DreamWorks film and Broadway hit, Shrek KIDS brings everyone’s favourite green ogre to the stage in a heartwarming, hilarious adventure. When Shrek’s swamp is overrun by fairytale misfits, he sets off with Donkey to confront the villainous Lord Farquaad and rescue Princess Fiona. Along the way, the unlikely heroes discover that true beauty comes from within — and that even ogres can find their happily ever after! Audition Date: Sunday 14 December 2025 Audition Time: 9:00am – 12:00pm (sign-in from 8:45am) Audition Location and Address: BGPA Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Online video submissions accepted for those unable to attend in person (email info@bgperformingarts.com). Audition Requirements: Try-outs are required for all performers wishing to be considered for lead or featured roles. All singing, dance, and acting components will be taught on the day. Performers may prepare one monologue from the Try-Out Pack (Shrek, Fiona, Donkey, Pinocchio, or Farquaad). Jazz shoes recommended but not essential. Audition Registration: Complete the online registration form prior to audition day. A performer will not be able to audition without registering and paying the participation fee. Audition Pack: All monologues, materials, and music are available via Dropbox Performance Dates: Saturday 17 January 2026 Performance Times: 2:00pm & 5:00pm Performance Location: Everton Park SHS Performing Arts Centre, 668 Stafford Rd, Everton Park QLD 4053 Rehearsal Dates: Monday 12 January – Thursday 15 January 2026 (Bowen Hills Studio) Friday 16 January 2026 (Everton Park SHS) Rehearsal Times: 9:00am–3:30pm (Mon–Thu) / 9:00am–5:30pm (Fri) / 10:00am–7:00pm (Sat – performance day) Performer Age: 6–12 years Creative Team: Director/Choreographer: Bella Gordon Musical Director: Kate Baxter Associate Director: Zander Hutson Production Website: www.bgperformingarts.com/audition-information-shrek-the-musical info@bgperformingarts.com Other Information: Cost: $400 (includes rights, royalties, staff, set, props, and venue hire). Additional costume hire fee may apply. Participants must be fully available for all rehearsals and performances. Available Roles/Character Breakdown: Shrek – The big-hearted ogre with a roar and a heart of gold. Fiona – The feisty, funny princess with a secret. Donkey – Shrek’s loyal, talkative sidekick. Lord Farquaad – The tiny villain with huge ambitions. Dragon – A fiery guardian with a big voice and even bigger personality. Pinocchio, Big Bad Wolf, Fairy Godmother, Gingy, Three Little Pigs, Wicked Witch, Peter Pan, The Three Bears, Fairy-Tale Creatures, and Ensemble

Title:   Grease: Young@Part Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre / Comedy Synopsis: Welcome to Rydell High, where the 1950s rock and roll spirit is alive and well! Join Sandy, Danny, and the gang in Grease: Young@Part  — a youth-friendly adaptation of the iconic musical featuring all the fun, energy, and hit songs you know and love. With numbers like “We Go Together,” “Summer Nights,” and “Greased Lightning,” this show celebrates teenage friendship, identity, and finding your voice. Audition Date:  Saturday 29 November 2025 Audition Time:  1:00pm – 5:00pm Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Prepare a monologue from the Grease  audition pack. Learn the required song from the provided YouTube link. Dance choreography will be taught on the day. Audition Registration: Book via SMS to 0438 896 436 (Debbie) and email your completed registration form to brisbanejuniortheatre@gmail.com Audition Pack: Download Monologue & Song Packs Performance Dates:  19–20 December 2025 Performance Location:  Emerge Church, 1 Coorparoo Road, Warner Rehearsal Dates:  15–19 December 2025 Rehearsal Times:  9:00am–3:00pm daily Performer Age:  13+ Production Website:   brisbanejuniortheatre.com.au Other Information: Fee: $425 (includes costumes, scripts, insurance, staff, and pizza dinner) Everyone who auditions will be included in the cast. Optional production T-shirt available for purchase. Available Roles: Danny Zuko – charming leader of the Burger Palace Boys Sandy Dumbrowski – sweet and spirited new girl Rizzo – confident, sharp-tongued leader of the Pink Ladies Kenickie – tough but loyal friend Frenchy – beauty school hopeful Marty – flirty and fun Pink Lady Jan – bubbly and funny Pink Lady Doody, Roger, Sonny – Danny’s sidekicks Patty Simcox – perky cheerleader Eugene – awkward classmate Teen Angel, Miss Lynch, Cha-Cha, and ensemble roles

Title:  Disney’s The Aristocats KIDS Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre / Family Synopsis: Based on the beloved Disney animated film, The Aristocats KIDS  tells the story of Duchess and her kittens, who are kidnapped by their greedy butler and left stranded far from home. With the help of the charming alley cat Thomas O’Malley and his jazzy friends, they set out on a heartwarming adventure back to Paris. Filled with laughter, music, and friendship, this “purr-fectly” delightful show features toe-tapping favourites like “Ev’rybody Wants to Be a Cat.” Audition Date:  Saturday 29 November 2025 Audition Time:  1:00pm – 5:00pm Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Prepare a monologue from the Aristocats KIDS  monologue pack (younger children may memorise a few lines). Learn the required song listed on your monologue sheet. Dance choreography will be taught on the day. Audition Registration: Book via SMS to 0438 896 436 (Debbie) and email your completed registration form to brisbanejuniortheatre@gmail.com Audition Pack: Download Monologue & Song Packs Performance Dates:  19–20 December 2025 Performance Location:  Emerge Church, 1 Coorparoo Road, Warner Rehearsal Dates:  15–19 December 2025 Rehearsal Times:  9:00am–3:00pm daily Performer Age:  5–12 years Production Website:   brisbanejuniortheatre.com.au Other Information: Fee: $425 (includes costumes, scripts, insurance, staff, and pizza dinner) Everyone who auditions is included in the cast. Optional production T-shirt available for purchase. Available Roles: Duchess – elegant mother cat Thomas O’Malley – street-smart alley cat Marie, Berlioz, Toulouse – Duchess’s playful kittens Edgar – scheming butler Roquefort – loyal mouse friend Scat Cat & Alley Cats – jazzy musicians Madame – kind owner of the cats Geese Sisters, Dogs, and other Parisian animals

Title:   EPIC: Love Stories – A Valentine’s Cabaret Presented By:  Vox Theatre Arts Genre:  Cabaret / Musical Theatre / Burlesque Synopsis: Step into an evening of passion, laughter, and romance as Vox Theatre Arts presents EPIC: Love Stories  — the first in their new cabaret series, Love Written in the Stars . This dazzling Valentine’s showcase brings together sixteen duos and ensemble numbers that celebrate love in all its forms — from the comedic to the sensual, the classic to the modern. Expect dynamic performances, hilarious chemistry, powerful vocals, and sultry choreography as performers embody some of the most iconic couples ever seen on stage and screen — from Romeo & Juliet  to Rose & Jack . Video Auditions Due:  Sunday 9 November 2025, 5:00pm Callbacks & Offers:  Monday 10 November 2025 Audition Location: Online submission (via Google Form below) Audition Requirements: Vocalists: Prepare two contrasting love songs (approx. 1 minute each) showing range, humour, and storytelling ability Acceptable styles: Contemporary Musical Theatre, Jazz, or Popular Music Submit via YouTube or Google Drive link Dancers / Movers: Choose either “Mover” or “Dancer” category Learn the relevant audition choreography: Dance Audition Folder Film and upload your routine via YouTube or Google Drive link Submit your audition via form: EPIC: Love Stories Audition Form Headshot (for socials/program) Artist résumé (PDF or Word, max 10MB) Known scheduling conflicts Blue Card status Audition Pack: EPIC: Love Stories Audition Pack (PDF) Rehearsal Dates: First Rehearsal:  Sunday 16 November 2025 Regular Schedule:  Tuesdays, Thursdays & Sundays Photo/Media Day:  Sunday 23 November 2025 Christmas Break:  8 December 2025 – 10 January 2026 Rehearsals Resume:  Sunday 11 January 2026 Tech Week:  9–12 February 2026 Performance Dates: Friday 13 February 2026 and Saturday 14 February 2026 Warnings: Contains adult themes, sexual references, intimacy choreography, and potential mild nudity. Performer Age:  18+ Creative Team: Director:  Rhona Bechaz – Artistic Director of Vox Theatre Arts Choreographer:  Tayla Simpson Production Website:   voxtheatrearts.com Email:   info@voxtheatrearts.com Other Information: This is an amateur, volunteer-based production Vox membership fee for 2026: $25 (due by first rehearsal) All performers must consent to Vox’s media and promotional policies The team encourages performers of all genders, abilities, and backgrounds to apply Rehearsal absences or tardiness may result in recasting Available Roles: MC (Character / Host):  Charismatic, comedic storyteller connecting the evening’s love stories Vocalists:  Dynamic singers comfortable with humour, character, and emotional storytelling Dancers:  Confident performers in cabaret or burlesque-inspired choreography Movers:  Performers with basic movement skills and strong character energy Ensemble:  Flexible performers appearing across multiple duos and group numbers

A Night With The Villains Presented by Mira Ball Productions Directed by Elodie Boal Choreography by Jennifer B Ashley Music Direction by Rae Rose Costume Design by Jackie Frederickson Makeup & Hair by Rosie Humphreys Technical Design by Tony Kerr Sound Design by Jono Harrison, Mal Boal Photography by B’rit Creative In its third season, Mira Ball Productions' A Night With The Villains  returns with a brand new batch of theatre’s most dastardly icons, luring us into an immersive cabaret where the baddies rule the stage (and occasionally your personal space). The villains roam, mingle, scare, flirt, and taunt, and if you are wearing a glowstick, you are fair game; a thoughtful touch that invites the audience to opt in or out of the interaction. The night wastes no time sinking its claws in. “ Spooky Villain Hell Dream ” erupts onto the stage with Jennifer B Ashley’s  jagged, stylised choreography. Our host for the evening, Hades (Jett Sansom ), is the sassy blue queen from Hercules , who relishes every blackout opportunityto terrify unsuspecting audience members. His improvised moments are some of the night’s most entertaining, though by the end there were clear signs of Jett's voice working overtime, oof! Chelsea Guard as Beetlejuice's Lydia delivers “ Dead Mom ” with beautifully controlled vocals and emotional clarity. Later, her duet of “ Bring Me to Life”  (complete with Hades fanning her to dramatically blow her hair) cements her status as the ultimate emo queen of the underworld. Cinderella's Stepsisters, played by Aimee Duroux and Lucy Ross, are a standout pairing. “Stepsisters' Lament ” is packed with brilliant blocking and character choices, leaning into the slapstick and vanity of the roles. They commit fully to every grotesque nuance, and their eventual audience-voted win to lead “ Thriller ” — entirely in character — was the perfect cherry on top. Reagan Warner as Agatha Trunchbull from Matilda barrels onto the stage with absolute authority. “ Smell of Rebellion ” is delivered with a booming presence and strong physical commitment, leaning into the exaggerated brutality with natural comedy. Later, “ Wrecking Ball ” turns into a full audience event, with beach balls bouncing through the crowd! Eleanor Grieve as Yzma is an absolute feast visually, from the silhouette to the towering lashes and meticulously detailed makeup (so much so that I didn't recognise her!). Her “ Snuff Out the Light ” is one of the more atmospheric moments of the night due to handheld lighting tricks. She leans into Yzma’s signature physicality with precision, holding shapes and angles that feel almost animated. In “ Hell Block Tango ,” her vocal character work shines, with rewritten dialogue tailored to each villain (Yzma, Stacee, Queen of Hearts, Farquaad, Maleficent, and Trunchbull). “and we run out of spinach puffs so I go to get some…” Kennedy Foley’s Queen of Hearts is genuinely nuts! From the moment she steps into that wash of red light for “ Off With Their Heads, ” there’s a real sense of danger, like she could turn on you at any second. It is not just costume and makeup doing the work either, though both are excellent! It is the way she holds herself with controlled physicality and sudden bursts of intensity. Vocally, she is completely solid and assured, creating one of the evening’s most cohesive character portrayals. Leo Mylonas as Claude Frollo (from Hunchback of Notre-Dame ) delivers “ Hellfire ” with articulate intensity, supported by ensemble vocals that build the drama perfectly. His later club-style interpretation of “ Unholy ” leans into a darker (S&M-inspired) aesthetic; a striking tonal shift that keeps the show completely unpredictable. Beau Wykes as Sweeney Todd and Ally Hickey as Mrs. Lovett settle into their dynamic with ease, creating a partnership that is both playful and unhinged. In “ Sugar ,” they bounce off each other beautifully. Even as the show moves through different styles and energy levels, they stay completely present in their characters, which helps anchor some of the darker material. Jaya as Stacee Jaxx (from Rock of Ages ) knows exactly what show they’re in. “ Dead or Alive ” (with the Stepsisters as groupies) is cheeky and high-energy, but “ Sexyback ” is where they truly take off. It becomes less of a number and more of an experience, with stripping, guitar picks flying into the audience, and fully feeding off audience adoration. There was at least one visibly flustered front-row lady! Ruby Thompson as Velma Kelly and Kelsey Todd as Roxie Hart slip into that iconic duo so naturally. They are incredibly strong dancers, vocally matched, and completely alluring in “My Own Best Friend.” Their Gatsby-inspired “A Little Party” kicks things up a notch with stamina and sass. Ruby especially feels right at home as Velma. I would absolutely love to see her take on the role in a full production of Chicago. Ashleigh Mitchell’s Maleficent commands in green, particularly during the haunting re-imagining of “ Once Upon a Dream,”  which carries a distinct Green Fairy energy. She sends us home with a bold, dance-heavy " I'm Horny " proving she is more than just a looming presence — she can move! And I can't forget Peter Wood as Lord Farquaad from Shrek . He has a smirk for days and fully delivers that gloriously vile little wimp energy that makes the character so entertaining to watch. Plus, his pairing with Kennedy Foley in the tango-inspired “Bad Romance”  is one of the standout choreographic moments of the whole show. One of the joys of this production is seeing so many familiar villains in one place, spanning musical theatre and the Disney sphere. The adapted “ Ex-Wives ” is a high-energy reset, and “ Sisters Are Doing It For Themselves ” slayed with everyone's wildly impractical shoes. Under the direction of Elodie Boal  and Rae Rose , the energy stays consistently high, with a playlist that covers musical theatre staples and pop anthems. Transitions between acts are generally smooth, though I would love to see even more improvisation and spontaneous audience interaction in these moments to elevate the format further. Jackie Frederickson’s  costumes and Rosie Humphreys’  makeup and hair are some of the strongest in the community right now, creating bold, recognisable looks for each character — particularly for Queen of Hearts, Yzma, and Hades. Tony Kerr’s  technical design, paired with sound by Jono Harrison  and Mal Boal, supports the fast-paced structure effectively. Lighting choices enhance key numbers (especially the red wash for Queen of Hearts and the green-hued Maleficent moments), while choreography frequently surprises (I spotted those Camp Rock 2 references Jen!) A Night With The Villains  thrives on commitment and every single performer commits wholeheartedly to character, tone, and camp. For fans of musical theatre, Disney villains, and immersive cabaret chaos, it’s a wickedly entertaining night out.

Presented by : Hanson Creative at BackDock Arts, Fortitude Valley Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the novel by Rick Riordan “Out there in the real world, that’s where the real monsters are” (…but thank god for musicals, right?!). Hanson Creative’s one-weekend run of The Lightning Thief  packed a thunderbolt’s worth of enthusiasm into the tiniest of spaces. A five-piece live band shared the stage, demigods swung swords within arm’s reach, and audience members ducked stray toilet paper (you had to be there). If you thought your high-school years were wild, try surviving algebra and  monsters. That’s the world of The Lightning Thief , a favourite for youth theatre companies. This plucky new crew at Hanson Creative hurled themselves into the full version with high-octane enthusiasm. With a band squeezed beside a set barely big enough to fit a trident, it was the theatrical equivalent of a can of red bull! For anyone not fluent in Percy Jackson lore (oops, guilty), the story can feel like being tossed into Mount Olympus without a map. Luckily, Percy is just as clueless. He's an irregular kid who learns he’s the son of Poseidon, sent to a camp for demigods, and accused of stealing Zeus’s lightning bolt. So now, he and his friends Grover and Annabeth are off on a hero's quest to the Underworld to clear his name and save his mom. Talk about family drama! Right from the opening number, the stage was electric (pun absolutely intended). Kyle Armstrong embodied Percy Jackson — youthful, cheeky, and entirely convincing as the reluctant hero. The only hiccup? In real life, Kyle seemed just a tad too cool ha! His big number “Good Kid”  soared (even when his mic didn’t), showing off a rich belt, crisp articulation, and emotional honesty that anchored the show. Aimee Sheather’s take on Annabeth was smart, self-assured, and relatable. She captured that fierce daughter-of-Athena energy, and her performance of “My Grand Plan”  was heartfelt and optimistic, even when she seemed a bit nervous. Extra credit for the clever sword sheath built into her shorts — both practical and perfectly in character. Elton Jun’s Grover was the crowd's sweetheart: the cheerful and loyal satyr (a boy with goat legs and horns), overflowing with charm and cuteness. Even when his microphone misbehaved, his warmth carried every moment. His lead in “Drive”  was a highlight — upbeat, funny, and just the pep Act Two needed. He's certainly the type of friend you'd want by your side on a monster-slaying road trip. Ruby Gleeson proved herself the ensemble MVP, morphing from a shrieking Fury, to the swaggering Clarisse, to the hilariously unbothered Aussie receptionist Charon of the underworld. Her “Put You in Your Place”  was fiercely fun, and “D.O.A.”  was a meet-and-greet with the afterlife's VIPs featuring Mozart, Janis Joplin, and Kurt Cobain. Mia Lierich brought gentle warmth in the role of Percy’s mother, Sally Jackson, serenading us with the beautiful ballad “Strong” with sincerity and a lovely vocal tone. Later, she did a complete 180, channeling her inner snake lady as Medusa during “Lost!” Anna Ryan, who also choreographed, was a total chameleon. She stepped in late as the grumpy Mr. Dionysus and made the role her own, to the point where I didn't recognise her at first! Even if the vocal range in "Another Terrible Day" sat a bit low for her natural tone, her commitment sold it. Later, she returned as Thalia in the haunting “Tree on the Hill” and danced like nobody was watching, as Elton sang in one of the most unexpectedly touching moments. Anna's group choreography throughout was crisp and fun, using the small space to its fullest potential. Reid McWha pulled off a juggling act with Mr. Brunner and Chiron, complete with a tail (thanks to a ponytail wig) that transformed him into a centaur; a guaranteed laugh every time he trotted by. Henry Dollar delivered a beautifully sung performance as Luke while strumming “The Campfire Song”  on guitar, only to later surprise us with a fiery cameo as Ares. Thomas Sinclair rounded out the ensemble with boundless energy and some scene-stealing comedic antics. And Poseidon, rocking a Hawaiian shirt and a laid-back LA surfer vibe, had me obnoxiously cackling (“The god of drama , am I right?” he quipped about Zeus). Director Emma Hanson led a five-piece band through Rob Rokicki’s notoriously tricky score. On the night I attended, she conducted beside the keyboard for visibility, meaning the cast couldn’t actually see her — but you’d never have known because they stayed tight throughout. Plus, I don’t know the score well enough to know any different! Yes, there were a few moments where instruments or vocals got a little lost in the mix, but given the live setup and limited space, who can blame them? BackDock’s intimate setting is both a blessing and a curse. The sound was powerful (at times too powerful that I half-considered earplugs during the group vocals), but the proximity also meant we caught every expression. When mics failed, the performers carried just fine. Visually, the production was resourceful. Minimal set, maximum imagination, and an especially cool lighting effect lit up the trident reveal. Was it confusing at times for the uninitiated? Sure. Was it ambitious, chaotic, and gloriously scrappy? Absolutely. The Lightning Thief  felt like a Starkid show colliding with a Greek myth. Like Percy himself, this cast faced difficult odds, dodged a few technical monsters, and still came out heroes.