Presented by:  Queensland College of Dance Venue:  La Boite Theatre Directors:  Tim Hill & Jacqui Devereux Musical Director:  Ben Murray Choreography:  Tess Hill Assistant Choreographer:  Lauren Bensted Costume, Makeup & Wigs:  Lucia Umpierrez, Megan Cattel & Eulla Cadoo Dagley Set & Props:  Tamsyn Doyle & Lily Davis Steer Book by  Fred Ebb & Bob Fosse | Music by  John Kander | Lyrics by  Fred Ebb   Few musicals are as instantly recognisable or as intimidating to stage as Chicago.  Set in the glitzy, gin-soaked 1920s, it tells the story of Roxie Hart, a wannabe vaudeville star who shoots her lover and finds fame for all the wrong reasons. In prison she meets nightclub sensation Velma Kelly, already notorious for killing her husband and sister, and the two compete for the spotlight under the silver-tongued showmanship of lawyer Billy Flynn. It is a cynical, sexy satire of fame, justice, and the line between murder and marketing — and after fifty years on stage, it is still as sharp as a stiletto! Under the direction of Tim Hill and Jacqui Devereux , Queensland College of Dance delivered a fresh, fast-paced and fabulously polished production that captured the show’s signature style and bite. Rather than reinventing the wheel (or the garter), Hill focused on what makes Chicago  timeless: razor-sharp choreography, tongue-in-cheek humour and a pace that never lets up. Performing in the round at La Boite Theatre was an inspired choice — in fact, I’d argue it’s the only way to stage Chicago . The raised centre platform allowed the action to unfold from every angle, while the cast made excellent use of the aisles (there are no wings in this venue, after all, so they made the space part of the spectacle). The twelve-piece orchestra, led by Ben Murray , occupied the rear of the stage like a jazz-age powerhouse. The brass section in particular was outstanding, and the sound balance through the microphones remained clear throughout. The pre-show set the mood perfectly, with the ensemble slinking into the space as the audience settled, welcoming us into their smoky jazz club world. Each performer made their own acting choices, so my eyes were darting around trying to take it all in. Then, with a crisp “five, six, seven, eight,” the band struck up that iconic overture and the night took off. All That Jazz  was sultry, precise and bursting with ensemble energy. The vocals blended into a lush wave of sound, never overcrowding the mix. The dancers captured that delicious restraint that defines Fosse: clean lines, controlled movement and a slow burn of sensuality. Tess Hill’s choreography was tight, stylish and consistently well executed, particularly in Cell Block Tango,  where the red lighting, storytelling and full-cast power hit like a freight train during the final chorus. Demi-Ann Klocek  was sensational as Velma Kelly, a bona fide triple threat who strutted across the stage with the confidence of someone who knows exactly where every spotlight will hit. Her big solo I Can’t Do It Alone  was part vaudeville, part cardio marathon, showcasing her jazz, tap, and acro skills without a hint of breathlessness by the end (if it were me, I’d have been flat on the floor by verse two!). Bella Cox  infused Roxie Hart with feisty, cunning allure, playing her as a short-tempered firecracker with a dazzling smile and a knack for manipulation. Her acting felt honest and instinctive, and her comedy was spot-on. While her lower range occasionally disappeared beneath the orchestra, her bright upper register more than made up for it. My Baby and Me  was a sparkling highlight, complete with her perfectly synchronised dancers, and she delivered her solo Roxie  with devilishly shameless sass. Claudia Heffer’s Billy Flynn was all charm and cheek with just the right hint of smarm — the kind of lawyer who could talk their way out of anything. She oozed confidence from her first entrance, tap dancing with flair and singing with a rich, confident tone. I loved the speed and precision of her delivery, especially in Both Reached for the Gun,  where her nasal “ventriloquist dummy” tone was spot-on. The dancers in All I Care About  were a vision, trotting around her like glamorous showgirl peacocks, feathers fluttering in perfect formation. While the song could have used a little more punch in the final high notes, Claudia made a dazzling vocal comeback in Razzle Dazzle,  bathing the courtroom in sequins, feathers, and pure Broadway bravado. With all its tricks, sparkle, and swagger, it was one of the show’s most spectacularly staged sequences. Luka Kovac  oozed authority and surprising warmth as Matron “Mama” Morton. When You’re Good to Mama  sat a little low for her range, but she still radiated confidence, and belted the roof off when required. Laine Devoy  was ideal casting as Amos Hart; his Mister Cellophane  was heartfelt and beautifully delivered, a professional-level performance that earned genuine empathy. Scarlet Yadlosky  as Mary Sunshine  was a riot: operatic, unhinged and unafraid of looking ridiculous (and I mean that as high praise). The Merry Murderesses — Kiyah Bourke, Georgia McNamara, Rhiannon Baird, Kate Hollis and Jess Wardle — were dynamite. Cell Block Tango  was electric with the blood-red lighting, precision movement and whipcrack fire on every “he had it coming!” Visually, this production was stunning. The lighting design captured every mood: sultry reds for the murderesses, cool blues for the prison scenes, and golds for the vaudeville glamour. The costume team, led by Lucia Umpierrez, Megan Cattel and Eulla Cadoo Dagley , nailed the black-lingerie aesthetic with sheer fabrics and sharp tailoring. I loved the varied textures, bold red lips, and perfectly secured wigs (always a win). A few small tweaks could have elevated the lead costumes even further: a flapper silhouette or detailed bodysuit for Velma would have complemented her athletic, star-quality style more than the bare black, and a slip or chemise might have saved Roxie from those constant mid-scene adjustments to pull the dress down and fix the sleeves. Minor notes for comfort rather than critique. The set by Tamsyn Doyle and Lily Davis Steer was smart and functional, with the raised centre platform giving height and shape to the action. Props were minimal and purposeful, enough to tell the story without cluttering the stage. The trial scene was a triumph of direction and blocking: snappy, witty and bursting with tongue-in-cheek absurdity (“Blah blah blah truth truth truth so help you God? I do.”). Class  was a smoky delight between Demi-Ann and Luka, My Own Best Friend  showcased lovely vocal chemistry between Bella and Demi-Ann, and the Nowadays  finale framed the pair beautifully. I also adored the ensemble costumes for this number. Then came Hot Honey Rag.  The band absolutely slayed it, and the choreography for the girls was perfection — a glitzy exclamation mark on an already impressive show! It might be a little risqué for a student showcase, but a brilliant choice to highlight such a large, talented ensemble. The production was bold, charming, and executed with absolute professionalism. Every performer gave their all. They managed to bottle the razzle, the dazzle, and the heart, and I left the theatre muttering, “My exit music, please!”

Heathers the Musical Beenleigh Theatre Group Director:  Blake Russell Musical Director:  Julie Whiting Choreographer:  Holly Leeson “Hey kids, make your teachers cry! Get the respect you didn’t get in life.” Sitting front row at Heathers means you are close enough to feel personally judged. The sold-out house was loving every second, caught between giggles and blushing (particularly during 'Dead Girl Walking '), and maybe just a tad traumatised, with nowhere to hide from the teenage drama playing out just metres away. Beenleigh Theatre Group leaned right into the dark comedy of this musical and had the audience eating out of the palm of their hand. The trigger warnings at the start were extensive and hilarious, setting the tone immediately. Beneath the croquet mallets, slushies and shoulder pads, this production understood what Heathers is about: the suffocating pressure of teenage hierarchy, the price of fitting in, and that delicate line between invisibility and infamy. With music and lyrics by Laurence O’Keefe and Kevin Murphy, based on the 1988 film, the story follows Veronica Sawyer as she scales the treacherous slopes of Westerberg High’s social mountain, only to realise the peak comes with dangerous consequences. The multi-level set by Tahnya Bella, Blake Russell, and Glen Heriot , framed by brightly coloured lockers, created a fun, flexible playground for all the chaos of Westerberg High. Scenes flowed easily with simple moveable pieces, and the design never overcomplicated the stage picture. Lighting by Chris Art and Tom O’Driscoll made great use of strong colour washes to support the tone, and the disco ball moment for ' Seventeen' added a full prom-style shift. And the addition of slinkies bouncing down from the ceiling during ' Big Fun ' were the cherry on top. Costumes by Sam McLaughlin and Maddison Joyce knocked it out of the park. The shoulder pads were non-negotiable, the colour blocking popped, and Heather Duke’s transformation moment was especially satisfying. The ensemble outfits were a love letter to the 80s, embracing every stereotype like it was going out of style (oh wait, it did!). As for the wigs by Taylor Atly , they were definitely aiming for the iconic film looks. But while the intention was clear, there were moments where the wigs felt a little distracting, particularly when some performers’ natural hair would have worked perfectly well. Musically, the show was expertly guided by Julie Whiting. Despite the score's vocal and rhythmic challenges, the cast performed with complete confidence. The harmonies were spot on, the ensemble work was solid, and they clearly put a lot of thought into the vocal casting of the leads. Jaime O’Donoghue is undeniably talented as Veronica. She has that slightly awkward, dorky quality that makes the character pop, while still having the vocal strength to carry the show. There is actually a hint of Winona Ryder in her physicality, which works beautifully for this role, especially after seeing Jaime channel that same energy so well in Stranger Sings earlier this year. Her vocal runs in ' Beautiful' were stunning, her tipsy acting was hilariously accurate, and her emotional spiral later in the show felt realistic. ' I Say No' is no small ask after everything that comes before it, and Jaime handled it with epic stamina. Adam Goodall’s portrayal of J.D. leaned into the darkest sides of the character from the get go. ' Meant to Be Yours'  was a vocal powerhouse moment, with the backing singers building the tension effectively. His performance is dangerous, highly aloof and expressionless, which added to the unease. I did miss that initial charm that makes you understand why Veronica falls for him in the first place. Nonetheless, the intensity was there, and it escalated well across the show. Katrina West was completely in control of her kingdom as Heather Chandler. Forget just running the school; she owned the Crete Street Theatre. The attitude, the presence, the vocals, it all locked in. ' The Me Inside of Me'  was a standout, with real humour in those ghostly moments where she casually filed her nails or observed the chaos around her with complete detachment. Plus, her red feather slumber look was divine. Ally Hickey’s Heather Duke had a great sense of build, and 'Never Shut Up Again ' was insanely impressive. It is a challenging number and she rose to it with strong vocals and high energy. Leah Erskine’s Heather McNamara brought a lovely mix of ditzy charm and vulnerability, paired with genuinely beautiful vocals. ' Lifeboat' was divine, even if it sat just slightly low for her range. The emotion still came through clearly, and she gave the character real heart. Together, the Heathers worked so well as a trio. 'Candy Store ' was slick, sassy, and confident. You could see the hierarchy immediately while still getting distinct personalities from each of them. Emily Rohweder as Martha was perfectly cast. There was such a genuine innocence and sincerity in her performance that made ' Kindergarten Boyfriend'  devastating. I completely believed her lifelong crush and that quiet, unwavering devotion she had carried with her for years. Greyson Vaughn and Anthony Vitetzakis were comedy standouts as jocks Kurt and Ram, completely fearless, fully committed, and always entertaining to watch. Both leaned all the way into the physical slapstick, clearly understanding the assignment and then pushing it even further. ' Fight For Me'  was brilliantly blocked, while ' You’re Welcome'  was driven by their unapologetically over-the-top tenacity, Darcy Morris as Kurt’s Dad and Sean Wilson as Ram’s Dad were a total riot, nabbing the spotlight like pros in ' My Dead Gay Son' . Meanwhile, J.D.’s dad brought a seriously unsettling presence, which gave those darker scenes extra weight. A.P. Aimee Boyd ’s Ms. Fleming channelled that larger-than-life, almost Starkid-esque flair that suits the role. The ensemble roles fully committed to the bit, which makes all the difference in Heathers . Levi Rayner’s sound work was generally spot-on, with just a few moments that could use some fine-tuning for clarity. ' Shine a Light'  might not have dazzled visually in the same way as other numbers, but the vocals were rock solid. What this production does particularly well is honour both sides of Heathers : the outrageous satire and the very real teenage angst underneath it. Blake Russell’s  direction allowed the humour to land because the underlying truths were always present. It is bold, committed, and full of detailed acting, blocking, and technical choices that show real intention. From the fearless ensemble to standout character work and strong musical direction, Beenleigh Theatre Group clearly trusts the material and each other.

Presented by Paterson Productions Venue : Twelfth Night Theatre Directed by Sam Caruana Musical Direction by Mark Mirhan Choreography by Kamara Albertson Photography: PIF Productions Kenn Wylchi Santos There’s something about Priscilla, Queen of the Desert  that makes you want to grab your boa and live loudly! Based on Stephan Elliott’s beloved 1994 film, the story follows drag queens Tick and Adam and their glamorous trans friend Bernadette as they travel from Sydney to Alice Springs in their lavender bus “Priscilla.” It’s set in the 1990s, when queens weren’t exactly common in regional Australia... and the trio’s road trip becomes a sparkling odyssey of friendship, identity, and acceptance, served with disco bangers and a whole lot of high heels! From the first glitter explosion of “It’s Raining Men,” the powerhouse Divas ( Alexis Lee , Claire Sutton , Eleanor Grieve ) had the crowd in the palm of their hand. From there, the dance floor never cooled down. Kamara Albertson’s  choreography made every number pop. If there was a disco move that existed, it was in there! The large ensemble filled the stage for “Go West,” delivering powerhouse vocals and precision chorie that brought the house down. Simon Chamberlain stole the show as the glitzy and spunky Felicia. Simon is the complete package: singer, dancer, actor, and queen! His performance of “Venus” was electrifying, and his La Traviata lip-sync moment from the orchestra pit (complete with bubbles) was epic. He finally fulfilled his dream of performing Kylie Minogue atop Uluru, his high notes so powerful they nearly blew the roof off. He could also deliver zingers better than a stand-up comedian, and could strut in heels better than most of us can manage in sneakers. Honestly, his legs and dance agility in heels put me to shame. And that blonde wig was pure Hannah Montana. Jason Miller  gave Tick/Mitzi a warm, soulful centre. His “I Say a Little Prayer” was tender and gorgeously sung, building to full diva glory. Later, his big number “Cake (Out in the Rain)” showed off a powerful voice and a delightfully cheesy showman grin. Adam Bartlett’s Bernadette, meanwhile, was the emotional anchor of the show. With poise and dry wit, Bartlett embodied a woman who’s seen it all but still has room for love and compassion. The way he commanded a scene with a single eyebrow raise or cutting remark was delicious. His chemistry with David O’Keeffe’s sweet, rugged Bob gave the show romantic grounding; their connection blossoming with warmth and gentle humour. Among the supporting cast, Vanessa Chuah  absolutely nailed Cynthia’s iconic ping-pong number, blocked to perfection for maximum comedy. Meg Hargraves  as Marion gave lovely groundedness. Patricia Dearness and Caleb Holman  added Aussie flavour in their featured turns. Special shout-outs to Sunny J , Mikey Searle , and Meggie Ryder , whose energy among the dancers were standout. And when Clayton Eltis  led “Thank God I’m a Country Boy,” complete with a Nutbush moment, it was peak Aussie mood. Fraser Goodreid  (alternating with Spencer Goodreid ) melted hearts as young Benji. Watching him proudly admire his dad dressed as Mitzi during “Always on My Mind” was genuinely moving. The tenderness of that scene cut through the glitter and disco, grounding the show in real love and acceptance. The mascs in the cast could do it all: intimidate the queens one minute, and then become queens the next! Blonde Diva Claire Sutton  shone in “Girls Just Wanna Have Fun,” effortlessly hitting sky-high notes as Simon joined in to show off his own impressive belting ability. Highlights were plentiful: the riotous “Don’t Leave Me This Way” (the most fun funeral I’ve ever attended), the chaotic karaoke night at Broken Hill with mullets galore, the heartfelt “True Colours” trio, and the disco inferno of “I Love the Nightlife”. The live band, led by musical director Mark Mirhan  (in a wig), was flawless from start to finish. Every hit song landed perfectly, and the brass section had the audience bopping in their seats during “Boogie Wonderland.” These lush orchestrations gave new life to the jukebox classics, from “Hot Stuff” to “I Will Survive.” And speaking of surviving, what a feat of design! The bus itself, built by Gary Winsen  and Samantha Paterson , rotated smoothly from its tin-covered exterior to a glitter-bomb interior worthy of a Vegas nightclub. During “Colour My World,” Tom Dodds’  lighting turned it into a rainbow beacon in the outback night. Lachlan Hall’s  drag costumes and elaborate wigs were jaw-dropping, each reveal more outrageous than the last, from floral bodysuits to a dress made entirely of thongs (the footwear kind). Supported by Milton Redshaw’s  wardrobe management and Rosie Humphreys’ ingenious quick-drag makeup masks, every transformation felt like pure stage sorcery. The audience was gloriously rowdy, whooping, laughing, gasping, and wincing at the sting of the show’s moments of homophobic slurs. It was a vivid reminder of how far we’ve come, and how vital stories like this still are. “We Belong” wrapped the journey up with heartfelt warmth before the megamix sent us out dancing and grinning. It was a joyful, unapologetically queer celebration of drag artistry, self-expression, and friendship. Director Sam Caruana  steered this production with a sure hand and a beautiful heart. His vision balanced the show’s outrageous camp with real emotional depth, allowing moments of silliness and sincerity to coexist beautifully. The pacing was tight, the transitions slick, and the humour landed every time. Caruana’s eye for detail shone through in the character work and the clever staging, particularly in how the bus was incorporated. It was clear the cast trusted their director completely, and that sense of camaraderie radiated from the stage. With powerhouse performances, Aussie humour, impeccable design, and dance moves for days, Priscilla, Queen of the Desert  was everything I hoped it would be and more. If I hadn’t attended the final performance, I would have definitely gone again! Huge congratulations to Samantha Paterson, Sam Caruana, and the entire creative team for a production that not only looked spectacular but felt it too. This bus is going places.

Title: Any Moment: A New Musical Presented By: Bradley McCaw Makes Musicals / PIP Theatre Genre: Contemporary Australian Musical / Workshop Production Synopsis :Any Moment is a brand new Australian musical exploring the lives of ordinary people on the brink of extraordinary change. Set in real time over a single day, the show captures moments of love, loss, hope, and transformation—reminding us that life can shift in any moment. This pilot workshop offers Brisbane performers the rare opportunity to help shape a new work from one of Australia’s most dynamic musical storytellers, Bradley McCaw, in an intimate, Off-Off Broadway–style development process at PIP Theatre. Audition Date: Self-tape submission due prior to Call Backs – Sunday 2 November 2025 Audition Location and Address: Call Backs at PIP Theatre, Milton, Brisbane Audition Self-Tape Due: Submit your video audition via email to bradleymccaw@gmail.com Audition Requirements: Select one vocal part: Soprano, Alto, Tenor, or Baritone Record yourself performing 16–32 bars of the song “Twenty Four” Backing tracks and sheet music available here: Backing & Sheet Music Playlist Submit your video link (YouTube, Google Drive, etc.) via email. Successful applicants will be invited to attend in-person callbacks at PIP Theatre on 2 November. Performance Dates: Friday 23 January 2026 Saturday 24 January 2026 Performance Location: PIP Theatre, Milton, Brisbane Rehearsal / Workshop Dates: 12 – 22 January 2026 (10-day musical development workshop) Performer Age: 18+ Production Website: bradleymccawmakesmusicals.com/news-/any-moment-audition-announcement-pip-theatre Other Information: This is a profit-share workshop production. 4 actors (plus understudies) will collaborate directly with the composer to workshop new material and perform in a developmental showcase. The project provides a unique professional opportunity to build experience in new musical development processes. Available Roles / Character Breakdown: Four roles available: Soprano – Bright, lyrical voice; expressive and dynamic emotional range. Alto – Warm, soulful tone; strong lower register and storytelling ability. Tenor – Contemporary sound with mix/belt ability; emotive and engaging. Baritone – Rich, resonant tone; grounded presence and versatility. Understudies for all vocal lines may also be cast.

Title: The Shawshank Redemption Presented By: Ipswich Little Theatre (ILT) Genre: Drama / Adaptation Synopsis: When Andy Dufresne is wrongfully convicted of murder and sentenced to life in the notorious Shawshank Prison, he must find a way to survive—and keep his hope alive—amid corruption, violence, and despair. Through resilience, intelligence, and the unlikely friendship of fellow inmate Red, Andy discovers redemption in the darkest of places. Based on Stephen King’s 1982 novella and made famous by the acclaimed 1994 film, The Shawshank Redemption is a powerful story of friendship, endurance, and the unbreakable human spirit. Audition Date: Monday 10 November 2025 – 7:30pm Audition Location and Address: Ipswich Little Theatre (ILT) Burley Griffin Drive, Ipswich QLD Audition Requirements: Prepare a 1-minute dramatic monologue showcasing emotional depth and character range. Familiarise yourself with the provided audition sides on website. Be ready for cold readings during the audition. Complete the online audition form before attending. Audition Registration: Register Here via ILT’s Website Performance Dates: 25 February – 14 March 2026 Performance Times: Evenings: 7:30pm | Matinees: 2:00pm Performance Location: Ipswich Little Theatre (ILT) Burley Griffin Drive, Ipswich QLD Rehearsal Dates & Times: Monday, Tuesday & Friday evenings – 7:30pm onwards Additional weekend rehearsals as required Warnings: Contains strong adult themes, violence, and coarse language Performer Age: 18+ Creative Team: Director – Shane Mallory – 0403 175 702 AD - Amanda Harrison – 0449 595 458 info@ilt.org.au Production Website: https://www.ilt.org.au/getinvolved/auditions/ Other Information: Actors must be able to perform with authentic American dialects as noted. All auditionees are encouraged to indicate availability for backstage or front-of-house support if not cast. ILT encourages diverse casting and welcomes performers of all backgrounds. ILT membership is required for insurance and participation purposes. Available Roles / Character Breakdown: Andy Dufresne (20–40, Male) – Intelligent, quiet, and resourceful. Wrongfully convicted banker who maintains hope through intellect and resilience. Must be physically dexterous (capable of climbing down a pipe). General American accent required. Red (Ellis Boyd Redding) (20–50, Male, Person of Colour) – Charismatic and streetwise inmate. The voice of experience and humanity. General American accent required. Warden Norton (30–50, Male) – A self-righteous preacher-type hiding corruption and cruelty beneath piety. Southern American accent preferred. Bryan Hadley (20–50, Male) – Head guard. Loyal to Norton, blunt, and power-hungry. Boston accent required. Bogs Diamond (20–40, Male) – The prison’s feared “Sister” leader; a charming yet violent predator. General American accent. Brooks Hatlen (50–75, Male) – Elderly librarian and long-term inmate. Kind and institutionalised, unable to cope with freedom. General American accent. Entwistle (20–50, Male) – A gentle, well-meaning prison guard who tries to appear tough. General American accent. Rooster (20–50, Male) – Southern “Sister” who thrives on dominance and routine. Southern American accent required. Rico (20–50, Male, Person of Colour preferred) – Born-again Christian with bipolar disorder. Puerto Rican accent preferred. Tommy Williams (18–30, Male) – Young, impressionable inmate. A good-hearted “pretty boy” who looks up to Andy. General American accent. Dawkins (20–50, Male) – Charismatic inmate addicted to gambling. General American accent. Pinky (18–40, Male) – A self-serving opportunist who shifts alliances easily. General American accent.

Title: Jesus Christ Superstar Presented By: Redcliffe Musical Theatre (RMT) Genre: Rock Opera / Musical Theatre / Drama Synopsis: Jesus Christ Superstar is the iconic rock opera by Andrew Lloyd Webber and Tim Rice, reimagining the final days of Jesus Christ through the eyes of Judas Iscariot. A timeless fusion of rock music and biblical storytelling, it captures the emotional and political turmoil of Jesus’ last week on Earth, exploring fame, betrayal, and faith in a modern context.Originally debuting as a concept album before taking Broadway and the West End by storm, Superstar remains one of the most powerful and provocative musicals ever written — raw, human, and electrifying from start to finish. Audition Dates: Saturday 25 October 2025 (by request) Tuesday 4 November 2025 Wednesday 5 November 2025 Sunday 9 November 2025 Audition Time: Sat 25 Oct – 11:00am to 12:30pm, 12:30pm to 2:00pm (by request) Tue 4 Nov – 7:30pm to 9:00pm Wed 5 Nov – 7:00pm to 8:30pm, 8:00pm to 9:30pm Sun 9 Nov – 12:00pm to 1:30pm, 1:30pm to 3:00pm, 3:00pm to 4:30pm Audition Location and Address: Theatre 102, 102 Anzac Avenue, Redcliffe QLD Audition Self-Tape Due (if applicable): Video submissions accepted for vocal auditions only (dance calls must be in person). Audition Requirements: Prepare: A 1-minute cut of a song from Jesus Christ Superstar and a 1-minute song in a similar style to Jesus Christ Superstar Each session includes a group dance call (at start or finish). Wear clothing suitable for movement. Bring your own sheet music or backing track. Must be 16 years or older (unless currently a ROAR Academy student). Attach a CV and headshot when registering. Audition Registration: Complete the registration form via Redcliffe Musical Theatre – Jesus Christ Superstar or email info@redcliffemusicaltheatre.com with your preferred session, CV, and headshot. Audition Pack: Download the Full Audition Pack (PDF) Performance Dates: Thursday 5 March 2026 – 7:30pm Friday 6 March 2026 – 7:30pm Saturday 7 March 2026 – 2:00pm & 7:30pm Sunday 8 March 2026 – 1:00pm & 6:00pm Performance Location: Redcliffe Entertainment Centre, Downs Street, Redcliffe QLD Rehearsal Dates: TBA – rehearsals will take place at Theatre 102, Redcliffe. Warnings: Religious themes, adult subject matter, and strong emotional intensity. Performer Age: 16+ (unless ROAR Academy student) Creative Team: Producer/Director – Madeleine Johns Music Director – Rhonda Davidson-Irwin Choreographer – Jill Rowlands Band Leader – Lachy Stewart Production Website: www.redcliffemusicaltheatre.com Available Roles / Character Breakdown: Jesus Christ – Male, 20–35, Tenor (A2–G5) Leader of the disciples; struggles with destiny and divinity. Strong emotional and vocal range. Judas Iscariot – Male, 20–40, Tenor (D3–D5) Tragic antihero torn between faith and fear. Powerful, expressive vocals required. Mary Magdalene – Female, 20–35, Mezzo-Soprano (F3–E5) Gentle, compassionate follower of Jesus. Performs “I Don’t Know How to Love Him.” Pontius Pilate – Male, 30–50, Tenor (A2–B4) Governor conflicted between duty and conscience. Commanding presence. Caiaphas – Male, 30–50, Bass (C2–F4) High priest threatened by Jesus’s influence; deep, resonant voice. Annas – Male, 20–40, Countertenor (G2–D5) Caiaphas’s scheming ally. Smooth yet sinister. Simon Peter – Male, 20–40, Baritone (A2–G4) Loyal disciple who falters under pressure; sincere and human. Simon Zealotes – Male, 20–30, Tenor (G3–B4) Fiery revolutionary; passionate and energetic. King Herod – Male, Any Age, Baritone (C3–G4) Showman with comic flair and decadence. Apostles – All genders, 16+, all vocal rangesFollowers representing diverse backgrounds and beliefs. Ensemble – All genders, 16+, all vocal ranges. Portray various characters including priests, citizens, lepers, and Herod’s court. Strong vocal and physical performers encouraged.

Title: Shining Bright: A Second Star Christmas Presented By: Second Star Youth Theatre Genre: Christmas Concert / Musical Theatre / Family Synopsis: Shining Bright: A Second Star Christmas is a festive celebration showcasing some of Brisbane’s most talented young performers! Featuring a glittering mix of traditional carols, contemporary Christmas favourites, and uplifting musical theatre numbers, this heartwarming concert embodies joy, hope, and community. Tailor-designed to highlight each performer’s individuality, the show promises a night of sparkling voices and holiday magic — all in the true spirit of Christmas. Audition Date: Video submissions due Saturday 22 November 2025 Audition Requirements: Open to young performers aged 10–18 (as of 19 December 2025) Submit two contrasting 40–60 second songs that fit one or more of the show’s themes: Traditional Christmas carol Modern/pop Christmas song Musical theatre number related to hope, joy, shining, or community Perform with full performance energy — there is no separate dance or acting audition. Songs may be sung a cappella or with an accompaniment/instrumental track. Optional audition song suggestions include: A Million Dreams (The Greatest Showman) I See Stars (Mean Girls) It’s Beginning to Look a Lot Like Christmas Let It Go (Frozen) SparkleJollyTwinkleJingley (Elf: The Musical) We Need a Little Christmas (Mame) Audition Registration: Pre-Register Here (Google Form) Audition Pack: Full Information via Linktree Performance Date: Friday 19 December 2025 (7:00 pm) Additional 5:00 pm show may be added if needed Performance Location: Faith Works Uniting Church, 177 Bennetts Road, Norman Park, QLD Rehearsal Dates: Wednesday 17 – Friday 19 December 2025 Rehearsal Times: 9:00 am – 4:00 pm daily Some performers may not be required for the full rehearsal period; a detailed schedule will be shared after casting. Performer Age: 10–18 years (as of 19 December 2025) Production Website: Second Star Youth Theatre Linktree Other Information: Participation is completely FREE! This includes all performance and skill development opportunities. Performers are to BYO performance outfit — semi-formal/cocktail attire in blue, green, silver, white, or black (please avoid all-black outfits). Due to space limitations, casting is selective; not all auditionees will be cast. Selected performers will receive materials and tracks in advance to prepare solos prior to rehearsals. Available Roles / Character Breakdown: This is a showcase-style concert — no fixed characters or roles. Soloists – singers selected for key songs Small groups / duets Ensemble

Title: The Cliffnotes of Insanity: The Princess Bride in Under an Hour Presented By: Brisbane Arts Theatre Genre: Comedy / Parody / Dinner Theatre Synopsis: The Cliffnotes of Insanity is an uproarious, lightning-fast retelling of The Princess Bride — the beloved fairytale of fencing, fighting, true love, and high adventure — all performed in under an hour! Expect cabaret-style hilarity, daring duels, miracle cures, and witty one-liners as this cult classic is reimagined through madcap performances and absurd theatrical flair. Featuring a live three-course “Feast of Florin,” trivia challenges, and a costume competition, this dinner theatre experience is truly inconceivable! Audition Date: Sunday 26 October 2025 Audition Time: 11:00am – 4:00pm (one-hour slots) Audition Location and Address: Lavalla Centre, Paddington QLD Audition Requirements: Open to all actors aged 18+ Prepare a one-minute comedic monologue (familiarity with The Princess Bride humour is an advantage) Group workshop-style audition with up to 10 participants per session Expect improv and movement exercises during the audition Actors may be cast in multiple roles or ensemble parts Audition Registration: Register Here Audition Pack: Download PDF Performance Dates: Wednesday 17 December 2025 Thursday 18 December 2025 Friday 19 December 2025 Performance Times: 7:00pm nightly (plus possible 1:00pm matinee on 19 Dec) Performance Location: Arcana – Empress Theatre, 46 Evesham Street, Moorooka QLD Rehearsal Dates: Commence Tuesday 4 November 2025 Rehearsal Times: Tuesdays & Thursdays – 7:00pm–9:30pm, Sundays – 3:00pm–8:00pm Warnings: Mild adult humour, parody violence, and audience interaction. Performer Age: 18+ only Creative Team: Director – Adelle O’Connell, Assistant Director – Amanda Lay, Production Manager – Siobhan Delgado Production Website: www.artstheatre.com.au/the-cliffnotes-of-insanity Other Information: This is a dinner theatre event, including a 3-course themed meal and live cabaret. Cast must be available for tech week (15–16 December) and all performance dates. Rehearsals held at the Lavalla Centre (Paddington); performances at Arcana (Moorooka). Open to performers of all genders, ethnicities, and backgrounds. Available Roles / Character Breakdown: (All roles are flexible; doubling may occur. Ages listed are playing range.) Narrator/Grandfather (M, older) – Wry, commanding storyteller guiding the audience through the chaos. P.A. / Mother (F, any age, agile) – Quick, witty, and ready to pivot between nurturing and chaotic. Son (M, younger, 18+) – Modern, sarcastic foil to the story’s madness. Westley / Dread Pirate Roberts (M, 20s–30s) – Heroic, charming, and endlessly quotable. Princess Buttercup (F, 20s–30s) – Romantic and regal, with a flair for comedy. Vizzini (M, any age, agile) – Over-the-top criminal mastermind; expert in being inconceivable. Fezzik (M, any age, agile) – Giant-hearted gentle giant; comedic physicality encouraged. Inigo Montoya (M, any age, agile) – Passionate swordsman seeking revenge — and punchlines. Prince Humperdinck (M, 20s–30s or older) – Villainous, melodramatic, and self-important. Count Rugen (M, any age) – The sinister six-fingered man. Miracle Max (M, older) – Eccentric and hilarious; master of chaotic magic. Valerie / Clergy (F, older) – Sharp-tongued and quick-witted comic powerhouse. Albino (M/F, any age) – Creepy yet oddly endearing dungeon dweller. Redshirt (M/F, any age) – Flexible ensemble role; comic timing and versatility key.

Katie is a Marker Sniffing Lesbian Presented by Backbone Theatre as part of the Look Up Festival Created by East and Under Theatre Company Playwright / Set & Costume Designer: Ada Lukin Director:  Indiah Morris Producer / Lighting Designer:  Madelyne Leite “Brand new week, same criminal life. I can hardly remember what it’s like to be a loser.” There are few things more terrifying than being seventeen in a Catholic school blazer. Then there is being seventeen, queer, academically gifted, slightly lame… and running a glow-in-the-dark sharpie drug empire from the school bathrooms.   Katie is a Marker Sniffing Lesbian  is a fiercely funny coming-of-age play about ambition, obsession, reputation, and the quiet panic of not fitting into the box you were told to live inside. It is theatre built by women, fuelled by dark humour, and powered by the kind of high school stakes that feel like life or death when you are in them.   Katie is on track to becoming school dux. Straight A’s. Writing assignments for cash. Socially awkward... When she began selling faulty glow-in-the-dark Sharpies from her Officeworks job, (with fumes that happen to give students a temporary high), what starts out as a low-stakes side hustle quickly spirals into something much bigger. Friendships blur. Gossip spreads. Hallucinations of Florence Nightingale appear.   From the instant Ada Lukin emerged through an actual hole in the theatre wall and climbed down a ladder into the Ron Hurley Theatre, (which I had somehow never noticed before), I could tell this was going to be clever, unexpected, and a little rebellious. Ada carried this piece with astonishing presence. As playwright, designer, and lead actor, the voice of the show was unmistakably hers. Witty, sharp, self-aware, and unexpectedly tender. Ada plays Katie as the classic endearing, over-eager dork who is desperate to be cool. Ada's asides to the audience were swift and surgically funny, and even her tiniest facial expressions landed huge laughs. The narration style felt conversational AND confessional. It felt like we were not just watching her spiral, we were inside her brain. In the quieter moments her performance really landed. The panic attacks, the paranoia fuelled by the fumes, the heartbreak of being outed. I was completely riveted.   Madelyne Leite as Miranda played the intimidating queen bee. The girl with dirt on everyone. Introduced like a storm cloud, Leite played her with authority, but there were flickers of vulnerability underneath the manipulation. We all knew a Miranda in high school. Her performance balanced dominance with cracks of insecurity like: “I think I need to see a therapist or something.” I did occasionally wish her vocal projection cut through the music a little more clearly, but her character work was sharp and specific. Alisha O’Brien as Lydia, the golden netball captain who is always busy, felt like the emotional heart of the piece. Her chemistry with Ada was electric and had the audience squealing and kicking their feet. The small talk about netball, (Katie’s painfully awkward version of flirting), was both hilarious and achingly sweet. The romance felt fluttery, nervous, and very real. Alisha's monologue venting about girls and pressure was a standout moment. Beneath the sporty exterior was a young woman buckling under parental expectation and the weight of constant achievement.   Ellen Hardisty’s Florence Nightingale apparition added a streak of magical realism. It was absurd and hilarious, yet thematically clever, especially given the school assignment and the question quietly sitting underneath it all: Was Florence Nightingale gay?!  Her role as the teacher leaned into chaotic adult hypocrisy. One of my favourite theatrical moments was the teacher using the classroom projector, only for us to see every open tab on her laptop: Tinder, BuzzFeed articles, unhinged Google searches. It was wickedly funny and a perfect example of how this production layered humour without overplaying it.   The script by Ada Lukin captured the intensity of high school life. The way gossip can spread like wildfire. The way reputation feels permanent. The way ambition can morph into unhealthy obsession. Plus, the Catholic undertones were ever-present. The pressure to conform. The fear of being seen as “wrong.” Sniffing the marker became more than rebellion. It was courage in a sniff. Or maybe delusion in fluorescent ink. They became status symbols, weapons, and metaphors.   The set (also by Ada) was a simple school dunny, a makeshift classroom, and a projection setup. Under Madelyne Leite’s lighting design, especially the bold use of blue and black lights, it genuinely glowed . The unsettling, Wii-like soundscape paired with bursts of club music when the girls got high created a sensory shift that mirrored everyone's spiralling minds. The giggling euphoria gave way to paranoia, nausea, and panic.   Indiah Morris’ direction allowed absurdity and honesty to coexist without either overpowering the other. When Katie was outed, the shift in the room was palpable. The audience, who had been laughing all night, went completely still. That is the magic of this piece. It was riotously funny, but it knew exactly when to land the emotional punch. Transitions were slick. The choreography was chaotic in the best way. Blocking was purposeful. The pacing never lagged for me. If anything, I would have happily stayed in this world longer. The audience was hooked, reacting audibly to every aside, every reveal, every twist. That kind of collective energy in the theatre is rare and so rewarding.   Katie is a Marker Sniffing Lesbian  exploded the neat little box of Catholic schoolgirl expectation and replaced it with glowing ink, panic attacks, queer longing, and Florence Nightingale. It is theatre for anyone who has ever felt like the odd one out in a school blazer. I would watch it again in a heartbeat.

Photography by Creative Street “Cause life is short and life is hard, so I don't care how… no more wasted time.” What if one tiny decision -- a subway stop, a phone call, a yes or a no -- could send your life hurtling down a completely different path? That’s the central question of If/Then , the moving and musically masterful Broadway musical, brought to life by VOX Theatre Arts at Arcana’s Empress Theatre. Isaac Brown (Lucas), Sam Sherrin (Elizabeth), Lisa Alsop (Kate) Through two intertwining storylines, If/Then  explores how one woman’s choices can shape not just her own future but the lives of everyone around her. Recently divorced and back in New York City to start over, Elizabeth’s life splits in two directions: Liz finds love with an army doctor named Josh, while Beth builds a high-flying career alongside her old friends Stephen and Lucas. The show follows both timelines simultaneously, each equally moving, messy and utterly human. Samantha Sherrin (Beth), Dom Bradley (Stephen) So grab a drink and some food at the bar beforehand, settle in and prepare to question all your life choices!   Brisbane Talent at Its Best VOX Theatre Arts has struck gold with this cast, led by the incomparable Samantha Sherrin . I don’t know how they managed to gather this group, but Brisbane should count itself lucky. Front and centre is Sam, giving a masterclass in endurance, emotion and a voice that just doesn’t quit. She takes on one of the most demanding roles in contemporary musical theatre — Elizabeth (or Liz… or Beth) — and does it almost entirely without leaving the stage. Physically and emotionally, she is constantly shifting gears, flipping between two parallel lives. One moment she’s the hopeful, romantic Liz; the next, the driven, pragmatic Beth. Samantha Sherrin (Liz) Sam makes us chuckle through ' What the F * ck' , devastates us during ' I Hate You' , and has us openly weeping by Act 2. Her rendition of ' Learn to Live Without'  is aching. She’s crying, we’re crying, the band is probably crying... it's the kind of performance where you can hear the audience (and the producer) sniffling into their programs. Then she roars into ' Always Starting Over' , a five-minute power ballad that demands every ounce of breath and bravery. Even when overcome with real tears and fury, every note rings out with immense precision and power, and Sam's acting is overwhelmingly real. It’s a fearless, emotionally charged performance and easily one of the finest you’ll see on a Brisbane stage this year. Cameron Rollo (Josh), Samantha Sherrin (Liz) Cameron Rollo  is the yin to her yang as Josh, the adorably awkward army medic whose chance encounter changes everything. Endlessly likeable, he’s sweet, sincere and quietly magnetic; the perfect counterbalance to Sam’s whirlwind energy and a steady anchor for Liz’s story. There’s a natural ease to his performance, grounded in honesty and never overplayed, his acting is full of small, truthful moments that draw you in. Every scene feels spontaneous, every glance full of intent, every reaction genuine. It’s hard not to melt a little during his solo ' You Never Know' , while ' Hey Kid'  delivers one of the night’s sweetest moments. Watching Josh grow from bashful flirt to devoted partner is genuinely moving, and his relationship with Sam is pure magic. When the two duet ' Here I Go' , it’s chemistry in its purest form: two people trusting the leap. Samantha Sherrin (Liz), Cameron Rollo (Josh) Isaac Brown (Lucas), Samantha Sherrin (Beth) Isaac Brown  brings both spark and soul to Lucas, the gossip-loving activist with a heart of gold and a knack for saying the wrong thing at the wrong time. He lights up every scene he’s in, slaying the cheeky ' Ain’t No Man Manhattan'  with sass and charisma before pulling the rug out from under us with the heartbreakingly tender ' You Don’t Have to Love Me' . His comic timing is razor-sharp, and the audience laps up every quip and side-eye. Paired with Jackson Muir  as David, the gentle and grounding doctor, their chemistry is beautiful to watch. ' Best Worst Mistake'  is one of the show’s loveliest duets, capturing the thrill and risk of new love. And Jackson’s solo ' What Would You Do'  absolutely floored me. It’s a fragile pause in the noise, aching with the kind of empathy that lets you feel every ounce of loss between the notes. Isaac Brown (Lucas), Jackson Muir (David) Micheal Enright (Anne), Lisa Alsop (Kate) Lisa Alsop  shines as Kate, Elizabeth’s fiery, loyal, and quick-witted best friend, finding the perfect balance between comedy and compassion. In ' It’s a Sign' , she gleefully embarrasses Liz on the subway with a performance bursting with mischief and killer vocals. Opposite her, Micheal Enright  matches that energy beautifully as Anne, Kate’s partner. They deliver some of the best one-liners of the night and radiate an easy energy that’s impossible not to adore. Together, Lisa and Micheal shine in ' Love While You Can' ; a beautiful ode to everyday love that’s messy, imperfect, and entirely heartfelt. The two even manage to belt through tears, a testament to their emotional commitment and vocal control. Ryan Bascle, Isaac Brown (Lucas), Dominic Bradley (Stephen) Sam Sherrin (Beth), Dom Bradley (Stephen) Dominic Bradley  as Stephen walks the fine line between charming and infuriating as Elizabeth’s boss... the kind of character you love to hate. There’s a confidence and humour to his performance that makes Stephen endlessly entertaining. He leads ' A Map of New York'  with passionate vocals, steering the chaos with a wink and a grin. Amiel Morris  shines in her debut as Elena, the eager intern who enters halfway through and quickly becomes Beth’s moral compass and mirror. Their scenes together are quietly touching; you can sense Beth recognising herself in her — all that idealism, curiosity, and conviction — and it’s a lovely, bittersweet reminder of how time changes us. Amiel Morris (Elena), Lisa Alsop (Kate), Sam Sherrin (Beth) The ensemble — Mark James, Molly Parker, Casper Haringcaspel, Ryan Bascle, Alicia Brite,  and Sam Hancock  — breathe life into New York City. They become subway commuters, wedding guests, parkgoers, baseball fans, you name it! Sometimes wistful, always purposeful, they keep the city’s pulse alive from start to finish as the background blur always in motion. Special mention to Mark James as the overzealous Deputy Mayor, Molly Parker as the tender-hearted Cathy, and Casper Haringcaspel for delivering the unforgettable “Today a pigeon shit right on my head” with perfect comic timing. This supporting ensemble — joined by Amiel, Jackson, Dom,  and Micheal  — juggle multiple characters, accents and quick changes (often literally swapping hats). Their adaptability and energy give the show its heartbeat, ensuring every transition feels alive and every moment, however fleeting, feels full. Worlds collide as Elizabeth turns 39 in 'Surprise' Lisa Alsop (Kate)   Musical Firepower This is not a score that could ever be done justice with tracks, and Alex Angus  (Music Director) and Erin Power  (Assistant MD) deserve medals for shaping its intricate layers. The 13-piece orchestra is a star in itself, navigating wild rhythms, relentless key changes and eight-part harmonies with near-perfect command. Front-staged and fully visible, the band feels woven into the storytelling; a part of the heartbeat of the city rather than hidden behind it. The microphones hold up surprisingly well, letting (most) of the vocals soar without being lost under the orchestra’s drive. The harmonies in ' No More Wasted Time'  (Samantha, Lisa, Micheal, and Amiel) are jaw-dropping! Four powerhouse voices blending like thunder and silk; I could listen to it over and over again. ' Surprise'  and ' Map of New York'  are masterclasses in organised chaos, while the gospel-infused ' This Day / Walking by a Wedding'  will have you fighting the urge to stand and clap along. While a few songs sat slightly under tempo and the timing wavered here and there, that’s just the growing pains of a preview. Honestly, this is a no-skip cast album come to life! Directing with Heart In a story built on duality, Hayley Gervais  finds the thread that ties it all together: heart. Her direction keeps both timelines distinct yet emotionally intertwined, allowing audiences to follow the complexity without ever feeling too lost. Ruby Thompson’s  choreography and Hayley’s blocking shine in the ensemble scenes, capturing the bustle and rhythm of Manhattan life. It’s thoughtful, cohesive storytelling from a creative team who clearly understand the heart of the show. George Pitt’s  lighting design (shifting between red and blue) is the unsung hero, giving instant timeline clarity without ever feeling gimmicky. Costume choices further define the split realities (Liz’s maroon cardigan and glasses, Beth’s navy blazer) to make each version of Elizabeth instantly recognisable. Costumes were largely sourced by the cast themselves, and it shows; everyone looks comfortable and natural in their roles. I also love that half the cast wear warm tones and the other half cool -- a subtle visual cue that pops beautifully in numbers like the opening ' What If' . And a special shoutout to Wendy Makin Bridal Designs for donating the gorgeous wedding dress! Cameron Rollo (Josh), Sam Sherrin (Liz) Given Arcana’s compact space, the minimalist set is the obvious choice, keeping the focus where it belongs: on the characters and their lives. Scene transitions are generally slick, maintaining the story's agility, which is precisely what’s needed in a show that continually shifts and reshapes itself. Finally, a huge shoutout to the behind-the-scenes helpers who quietly came to the rescue whenever needed — sourcing props, building makeshift wings, providing sound gear, and asking nothing in return. That spirit of generosity and teamwork is exactly what makes this production, and this community, so special. Full ensemble in 'Aint No Man Manhattan' The Choices That Shape Us This isn’t your average boy-meets-girl musical. If/Then  is about everything: marriage and divorce, friendship and careers, chance meetings, lucky breaks, bad dates, the pressure of time, the cruelty of loss, and the comfort of chosen family. As one song reminds us: “See each choice you make, it’s a kind of a loss, Each turn that you take and each coin that you toss. You lose all the choices you don’t get to make, You wonder about all the turns you don’t take…” Cameron Rollo (Josh), Samantha Sherrin (Liz) This show that leaves you reflecting on your own what-ifs and the bittersweet truth that while we can’t live both timelines, we always have the power to choose how we live this one. With powerhouse vocals, emotional storytelling, and a score that demands to be heard live, If/Then  is the kind of rare Broadway gem Brisbane audiences don’t often get to see. VOX Theatre Arts delivers a show that’ll have you laughing and crying, while gently reminding us that life has a way of leading us exactly where we’re meant to go. Yes, there may be plenty of shows in Brisbane this October, but let me make this decision easy for you: If/Then  is a choice you won’t regret. TICKETS : Performances:  October 10–11, Arcana Empress Theatre, Moorooka.   Photography by Creative Street Photography Full ensemble in 'Walking By a Wedding/This Day' Lisa Alsop (Kate), Samantha Sherrin (Elizabeth), Isaac Brown (Lucas)

Title: GLOW Cabaret: Duos and Trios Presented By: Phoenix Ensemble Genre: Cabaret / Variety / Musical Theatre Synopsis: Are you part of a dazzling duo or a talented trio? GLOW Cabaret: Duos and Trios celebrates the magic of collaboration — showcasing performers who shine together through harmony, humour, and heart. Whether you’re bringing powerhouse vocals, comedic timing, or creative flair, this cabaret invites you to team up and take the spotlight on the Phoenix Ensemble stage. Audition Requirements: Application now open to duos and trios of all styles and genres. Performers must complete the online application form. Prepare two songs — list title and show for each. Upload a headshot for marketing purposes. Provide a video audition link (can be any previous performance; not necessarily the chosen piece). Returning GLOW performers do not need to resubmit a video. Select preferred sound check times prior to the 7:30pm performance. Audition Registration: Performer Application Form Performance Dates: 25th October Performance Times: 7:30pm Performance Location: Phoenix Ensemble, Beenleigh Showgrounds QLD Rehearsal Dates: Self-organised Warnings: Family-friendly cabaret; content should be appropriate for a general audience. Production Website: www.phoenixensemble.com.au Other information: Open to all performance styles: musical theatre, pop, comedy, jazz, contemporary, and more. Collaboration encouraged — create an act that showcases chemistry, creativity, and stage presence. Sound check and tech support provided prior to showtime. Available Roles: Open casting — all genders and vocal types welcome.

Title: Tarzan – The Musical Presented By: Spotlight Theatrical Company Genre: Family / Adventure Musical Synopsis: Based on Edgar Rice Burroughs’ classic story and Disney’s animated film, Tarzan follows a young boy who is orphaned on the West African coast and raised by a family of gorillas. As he grows, Tarzan struggles to find his place between two worlds—animal and human—until the arrival of Jane Porter changes everything. With a powerful score by Phil Collins and stunning choreography blending acrobatics and jungle-inspired movement, this musical explores love, identity, and belonging in a breathtaking, high-energy production. Audition Date: Video submissions due Friday 17 October 2025, 11:59pm Dance Call & Callbacks: Monday 20 October 2025 Dance Call: 6:30pm – 8:30pm Callbacks: 8:30pm – 10:00pm Audition Location and Address: Southport Community Centre, Gold Coast QLD Audition Requirements: Vocal Video submission required for all applicants. Upload via YouTube, Google Drive or Dropbox (ensure visibility). Tarzan: “Everything That I Am” (from 1:56 “Is this my family?” to end) Jane: “Waiting For This Moment” (from 1:57 “There’s something strangely…” to end) Kala: “You’ll Be In My Heart” (full song) Young Tarzan: “I Need to Know” (start to 2:05) Clayton: 1–2 minute Disney villain monologue or villain song (max 2 mins) All other roles/ensemble: Any Disney Broadway song (max 2 mins) that showcases range and personality. Dance Call: All auditionees for Tarzan, Jane (callbacks), Terk, Young Tarzan, Leopard and Ensemble must attend. 6:30–7:30pm: Tarzan, Terk, Young Tarzan, Leopard, Ensemble 7:30–8:00pm: Leopard tricks and advanced movement 8:00–8:30pm: Jane callback dance Grounded contemporary jazz style with funk and acrobatic influence. Wear flexible clothing and dance shoes; bring water. Please note any injuries (particularly knees or back). Audition Registration: Email completed audition form (on website) and video links to TarzanSpotlight@gmail.com Audition Pack: Tarzan Audition Pack (PDF) Scheduling: Performance Dates: 6 February to 28 February 2026 Performance Times: Thursdays, Fridays & Saturdays – 7:30pm Sundays – 2:00pm Additional matinees or Wednesday shows may be added as required. Performance Location: Spotlight Theatre, Benowa, Gold Coast QLD Rehearsal Dates: Commence Monday 27 October 2025 Rehearsal Times: Mondays & Wednesdays: 6:30pm – 9:30pm Sundays: Various times (schedule provided after casting) Other Information: Warnings: Mild action sequences, stage combat, physicality, and implied death. Suitable for general audiences. Performer Age: 16+ (Young Tarzan double-cast, 8–12 years old) Creative Team: Director – Stuart Morgan Music Director – Matt Pearson Choreographer – Jennifer Gilbert Co-Choreographer – Perrin Gilbert Production Website: www.spotlighttheatre.com.au Other Information: All cast and crew must be financial members of Spotlight Theatrical Company. You will need to supply your own makeup, personal garments and shoes. This is a community production – unpaid. Available Roles / Character Breakdown: Tarzan Male-presenting Stage age: late teens–early 30s Vocal range: B2–Bb4 Raised by gorillas, athletic and emotional, searching for belonging. Physically strong and vocally dynamic. Jane Porter Female-presenting Stage age: late teens–20s Vocal range: F#3–F5 Curious, intelligent, and kind-hearted English naturalist; adventurous and witty with strong acting and vocal skills. Kala Female-presenting Stage age: 20s–40s Vocal range: E3–Eb5 Tarzan’s nurturing gorilla mother; warm, maternal and protective with emotional range. Kerchak Male-presenting Stage age: 30s–50s Vocal range: Ab2–Gb4 Authoritative leader of the gorilla troop; stern but caring; commanding baritone voice. Terk Male-presenting Stage age: late teens–30s Vocal range: Eb3–B4 Energetic, comedic and loyal; Tarzan’s best friend with a pop/rock edge. Young Tarzan Male-presenting Stage age: 8–12 Vocal range: unchanged voice C3–E4 Curious, playful, eager to belong; strong singer/actor with physical energy. Professor Porter Male-presenting Stage age: 40s–60s Vocal range: B2–C4 Jane’s father; eccentric, warm, and absent-mindedly funny. Clayton Male-presenting, Stage age: 20s–40s Non-singing role Charming but ruthless antagonist; physically confident with strong stage presence. Leopard Male-presenting Stage age: 17+ Jungle predator; strong movement and fight skills. Acrobatics or flips advantageous. (Ensemble double) Ensemble – 16+ (all vocal types) Portray gorillas, jungle explorers, and featured humans (Father, Mother, Snipes). Must sustain gorilla posture and movement.