Here I go again... Mamma Mia!  will always have me by the heartstrings. It was the first musical I ever saw live and the first one I ever performed, so ABBA’s music runs deep in my veins. For me, it’s nostalgia bottled in melody; dancing around the living room to ' Super Trouper' , belting ' Knowing Me, Knowing You'  like I’d lived through three divorces, and gawking at Agnetha and Frida's ridiculous choreography and costumes. So walking into Spotlight Theatre’s Mamma Mia!  felt like diving headfirst into a sun-soaked memory of yesteryear. Under the direction of Jamie Watt , with musical direction by Peter Laughton  and assistant direction by Shari Willner , this production overflowed with colour, laughter, and affection for the music that shaped generations. While preparing for her wedding to Sky ( Jake Cropley ), young Sophie ( Alannah Eyerich ) makes a startling discovery: her mother Donna ( Jessica Papst ) once had three lovers — Sam  ( Andy Macfarlane ), Harry  ( Jonathan Whitlow ) and Bill  ( Sean Curran ) — any of whom could be her father. So naturally, Sophie invites them all to her Greek island wedding in the hope of solving the mystery before she says “I do.” What follows is a dramatic mix of hilarity and heartfelt moments, all stitched together by ABBA’s timeless hits. I love that Spotlight keeps their set visible from the start. We were dropped straight into Donna’s taverna under a canopy of twinkling stars, with Sky quietly strumming his guitar (or trying to, over the excited chatter of the audience!) The set, designed by Jamie Watt  and Andrew Kassab , was a total postcard moment plucked straight from the Greek isles: Whitewashed walls, bursts of bougainvillea, and bright blue shutters straight out of Santorini that framed a two-level hotel, connected by a bridge that overlooked the “ocean” below. Every detail felt considered and alive. The lighting design by Jamie Watt , LJ Jones , Ariana Sinner , and Thomas Bell  dazzled from the overture, washing the stage in shifting colours that pulsed perfectly with the music and remained consistently stunning throughout the show (with plenty of dazzling cameos from the disco ball!) Jessica Papst  was magnetic as Donna, capturing her stubborn streak, free-spirited independence, and vulnerability all at once. Her powerhouse vocals could have lifted the roof in ' The Winner Takes It All ,' and her first big number, ' Mamma Mia' , perfectly captured Donna’s chaos, complete with the most magnificently unhinged crazy eyes! Papst balanced comedy and heart with ease, revealing a woman both worn down and wildly alive. Alannah Eyerich  was a radiant Sophie, matching Donna’s energy every step of the way. Her glorious belt was front and centre all night, used often and to great effect. After powering through a five-song marathon in Act 1, her voice understandably began to tire by ' Name of the Game', but honestly, I found myself loving her softer moments much more. When she let her tender voice take over in ' I Have a Dream' , it was gentle, luminous, and the perfect way to close the show. Jake Cropley  fit the role of Sky beautifully. Youthful, carefree, and quietly caring, with a voice that was far stronger than I expected (and one I wish we could have heard more of, but alas, that’s the “princess track” life). He shone in ' Lay All Your Love on Me' , both vocally and physically, bringing real passion and playful chemistry to his scenes with Sophie. The three dads were ideally cast for their contrasting energies. Andy Macfarlane ’s Sam brought a steady, grounded presence, his duet with Donna in ' S.O.S.'  bubbling with years of unspoken words. Jonathan Whitlow ’s Harry was warm, earnest, and delightfully dorky, especially during ' Our Last Summer' ; one of the show’s sweetest moments. And Sean Curran ’s Bill was a total scene-stealer: playful, cheeky, and just the right amount of rogue. His comic instincts brought fresh life to a familiar role and his chemistry with Rosie in ' Take a Chance on Me'  was everything that number should be: wild, naughty, flirty. Together, the three dads shone in ' Thank You for the Music' , a scene that perfectly captured the heart of the show. The Dynamo trio of Donna, Tanya, and Rosie were every bit as dynamic as the boys! Jacy Lewis ’s Tanya glided through each scene with a cocktail in hand and a perfectly arched eyebrow, oozing effortless glamour and wit. Melissa Dorge ’s Rosie was a comic firecracker and just as confident as Tanya. The crocs, the wig, the bikini t-shirt, the sun-visor.... I'm obsessed. Together, their tag-team antics with Donna in ' Chiquitita'  and 'Dancing Queen' were brilliant. Their chemistry was that of sisterhood, sequins, and slapstick all rolled into one. Andrew Kassab  made a brilliant Pepper, the island flirt with no off switch, strutting about with cocky swagger, while Clay English ’s Eddie  kept pace beside him, firing off witty one-liners with perfect timing. They were a hilarious duo, bouncing off each other's energy, especially as Pepper shamelessly (and unsuccessfully) tries to win Tanya's attention. Meanwhile, Sophie’s bridesmaids — Alana Schokman  as Ali and Brianna Lane  as Lisa — captured the jittery joy of being twenty years old. Their hyper energy in ' Honey Honey'  and their friendship with Sophie in the opening scenes seemed highly natural. The choreography by Jamie Watt  was bold, precise, and bursting with life. ' Money, Money, Money'  allowed the ensemble to burst forth from every corner of the stage, setting the pace for a production that never stood still (except for the literal tableau during ' Mamma Mia' ). By ' Voulez-Vous' , the ensemble’s stamina and precision were on full display, while the leads handled the notoriously tricky dialogue-versus-track timing well. The ensemble harmonies were ever-present, enriching the sound even when they weren’t visible. The microphones were clear against the backing tracks and the timing tight from start to finish. Only in ' One of Us'  did Jessica Papst ’s falsetto momentarily lose its battle with the backing choir. The big production numbers came thick and fast: the wetsuit-and-swim-cap hilarity of ' Lay All Your Love on Me'  (complete with bubbles!), the exhaustingly vigorous dance-off in 'Does Your Mother Know', and the Dynamos’ metallic jumpsuits and bedazzled microphones for ' Super Trouper'. Sharp, robotic choreography gave way to the sultry, disco-ball dazzle of ' Gimme! Gimme! Gimme!'  as the girls rocked their sparkly party outfits. Honestly, I hope my own hens night looks exactly like that (minus the three potential fathers...). ' Under Attack' (aka “Attack of the Zombie Brides”) was a deliriously fun fever dream of choreography, lighting, and costuming ingenuity. Jamie Watt ’s direction made clever use of every corner of the two-level set, layering moments so they felt cinematic while keeping the pace breezy. His staging captured the bustle of a Greek island without feeling crowded. Costumes by Pina Crisafulli Omeros , Millie Talbot , and Nada Kulic  struck the perfect chord between realism and spectacle, from Tanya’s chic, high-fashion flair to the ensemble’s vibrant beachwear and the Dynamos’ glittering retro jumpsuits. Every element reflected care, collaboration, and creativity, and it was clear the entire company poured love into this production. Sold out for the season (and with good reason), Spotlight’s Mamma Mia!  delivered everything audiences could hope for: talent, camp, sentimentality in all the right places, and completely committed to the fun. The opening-night crowd was rowdy, laughing through every gag and cheering like it truly was an ABBA reunion concert. In a world that could use a little more joy, this glitter-splashed Greek holiday was pure escapism. Well done to the entire team for a brilliant season, and hope you were successful in keeping audiences from singing along (because if you’ve ever done this show yourself, you know just how hard that rule is to follow!) Photography by Vargo Studios

Title: Scenes from a Climate Era Presented By: Javeenbah Theatre Company Genre: Contemporary Drama / Epic Theatre Synopsis: Scenes from the Climate Era explores the enormity and immediacy of the climate crisis through sixty-five short scenes that range from comic to tragic and everything in between. Featuring themes like artificial reefs, zombie mice, and beachless coasts, this bold and compelling work examines the way we live, the choices we’ve made, and the hopeful (and sometimes harrowing) possibilities of tomorrow. A kaleidoscopic look at the human experience in the era of climate change. Written by: David Finnigan Audition Date: Sunday, 27 July 2025 Audition Time: 10:00am Audition Location and Address: Javeenbah Theatre, Cnr Ferry and Stevens Streets, Nerang Audition Self-Tape Due (if applicable): Contact director to discuss alternatives Audition Requirements: 1 x long monologue and 1 x short monologue (from the audition pack) Be ready to run a pair scene Be prepared for physical and group activities. This is an open audition. Please wear comfortable rehearsal attire. Audition Registration: RSVP Form Audition Pack: Download Here Performance Dates: 24th - 26th October 2025 Performance Location: Javeenbah Theatre, Nerang Rehearsal Dates: From early August 2025 Rehearsal Times: Monday and Wednesday evenings, Sundays (AM or PM – cast dependent) Performer Age: 16+ Director: Jocelyn Moore-Carter (jocelyn.moore-carter@tlc.qld.edu.au) Production Website: javeenbah.org.au/auditions Other information: All roles are open to actors of all genders, cultures, and backgrounds. This is a collaborative ensemble production rooted in Epic Theatre techniques and physical storytelling. Available Roles: There are no named characters. Cast will consist of up to 8 versatile actors, each playing multiple roles. Characters are identified as A, B, C, etc., with scenes including monologues, duologues, and multi-actor moments. The style shifts between emotional depth, clinical tone, and ensemble-based storytelling.

Dear Son – Queensland Theatre Bille Brown Theatre Based on the book by Thomas Mayo Adapted by Isaac Drandic & John Harvey Directed by Isaac Drandic Photographed by David Kelly Dear Son  is not a lecture, not a spectacle, but a warm, open hand. Built from Thomas Mayo’s collection of letters between First Nations fathers and sons, this stage adaptation celebrates masculinity in all its complexity: tender, flawed, funny, proud, aching, resilient. On stage, Isaac Drandic and John Harvey translate that spirit into theatre without losing the intimacy of the page. These letters still feel “handwritten”, even as they become spoken aloud, shared in a circle, carried between the other men present. The Bille Brown Theatre is the perfect home for this story. I love  the closeness of the space (it’s such a different feeling to QPAC as you’re not watching from a distance, you’re right there with them). Kevin O’Brien’s set places us inside a relaxed, familiar gathering point: a cookhouse with sandy ground, a large tree looming over the space, and a screen at the back that helps guide us through the shifting stories. Words are projected from above and across the back wall — sometimes poetic, sometimes contextual, and sometimes confronting. When discriminatory or derogatory words appear while the men face us, waving, it lands quietly… because it’s not shouted. It’s just there , the way it can be in life. And then we’re invited into the rhythm of the piece, the men taking turns to share their stories, swapping roles fluidly, stepping forward then returning to their activity. It becomes a theatrical yarning circle, where the collective matters just as much as the individual. And what a cast to carry it. Jimi Bani  is magnetic, that rare kind of performer who makes storytelling feel as easy as breathing. He can have you laughing in one beat, then quietly devastated in the next, without ever pushing for emotion. Waangenga Blanco , as both performer and movement director, brings a his physical language to the production. The sea-faring section in particular is stunning: layered movement, chanting, intensity that builds like weather rolling in. Trevor Jamieson  adds a gorgeous musical thread to the show. His guitar work and singing have this calming, human warmth and when others join in harmony ( “Some days are better than others, my friends” ), it becomes one of those simple, soulful moments that sneaks up on you. Kirk Page anchors the whole room. There’s a steadiness to the way he delivers text, like he’s speaking from a lived place, not “performing” it, and that restraint makes the tender moments land even harder. Aaron Pedersen  brings a rawness and emotional immediacy that cuts straight through. There’s something unguarded in his energy, like the words matter right now , not as a memory, and that urgency adds weight to the stories that sit in anger, regret, or deep love. Importantly, the humour is real too. Dear Son  isn’t heavy for the sake of it — it understands that laughter is part of survival, part of family, part of being together. The “shorts and thongs” story is a delight, and the bike-riding scene is great (the kind of comedy that feels shared, not performed “at” the audience). Those lighter moments they support  the deeper themes, the way they do in real life. Design-wise, the production is beautifully cohesive. David Walters’ lighting  shapes the space with gentle shifts that feel like memory moving — warm, dusk-like glows and cooler tones that settle over heavier moments. Craig Wilkinson’s video design  is used with intention to guide, enhance, and challenge us. And Wil Hughes’ sound design  wraps around the performance subtly, supporting the emotional undercurrent without ever drowning the words. What I appreciated most was how unforced it all felt. The men project strongly, yet there is no theatrical excess. It is storytelling. It is listening. It is men speaking truths that perhaps have not always been given space. And just when you think the emotional arc has gently settled, Dear Son  offers one final, deeply personal gesture. In the closing moments, the five actors step forward not as characters, but as themselves. One by one, Jimi Bani, Waangenga Blanco, Trevor Jamieson, Kirk Page and Aaron Pedersen  share brief reflections about their own fathers, their own sons, and the families who continue to shape them. Family photographs appear behind them as they speak, quietly anchoring the evening in lived experience. After seventy-five minutes spent carrying the words of others, this final act of self-disclosure dissolves the line between performer and person, between letter and life, reminding us that these stories are not confined to the page or the stage. They are ongoing and real. By the end, what lingers is not one particular anecdote, but the sense of having been invited into something shared and sacred. Dear Son  reminds us that masculinity can hold softness. That love can be spoken plainly. That healing is rarely tidy or complete, but a practice carried forward, generation by generation.

Title: A Musical, Too? Presented By: Salty Crew Productions Genre: Musical Theatre Cabaret Synopsis: You heard right — A Musical, Too? is finally BACK and ready to hit the stage! This isn’t your average cabaret. Every musical theatre number in this high-energy, feel-good show comes with a perfect pairing — double the songs, double the drama, double the fun. Why sing just one showtune when you can sing two? Expect bold vocals, powerful performances, and a whole lot of personality. Audition Date: Video auditions closes Wednesday 17 July 2025 at 11:59pm Audition Requirements: Submit a video audition of one musical theatre song that showcases who you are. Open casting for all voice types and identities. This is a cabaret-style show, so solo, duet, or group features will be matched depending on vocal type, vibe, and song pairing. No character roles. Submit here: Video Audition Form Performance Dates: Friday 5 September 2025 Saturday 6 September 2025 Sunday 7 September 2025 Friday 12 September 2025 Saturday 13 September 2025 Sunday 14 September 2025 Friday 19 September 2025 Saturday 20 September 2025 Sunday 21 September 2025 Rehearsal Dates: Begin Sunday 21 July 2025 Production Website: https://saltycrewproductions.my.canva.site/salty-crew-website

Title: Twelfth Night Presented By: 4MBS Classic FM Shakespeare Festival 2025 Genre: Shakespeare / Comedy Synopsis: Shakespeare’s Twelfth Night is a hilarious and heartfelt tale of mistaken identities, shipwrecked twins, love triangles, and ridiculous revelry. With its gender-bending disguises, witty wordplay, and unexpected romances, this classic comedy explores the chaos of love and the joy of finding one’s true self—all set in the whimsical world of Illyria. Audition Date: Saturday 26th July & Sunday 27th July, 2025 Audition Time: By appointment Audition Location and Address: The Studio at 4MBS, 384 Old Cleveland Road, Coorparoo, QLD Audition Self-Tape Due (if applicable): By COB, 26th July (for those unable to attend in person) Audition Registration: Email Laurene at Shakespeare@4MBS.com.au Include your CV, headshot, and contact number for an audition timeslot. Audition Requirements: Prepare 1 Shakespearean monologue, no longer than 3 minutes You will be given a cold read monologue on the day with time to prepare Callbacks will involve scene reading with partners (no prep required) Measurements may be taken at the audition Please email your CV, headshot, and phone number to register Performance Dates: Saturday 8th November & Sunday 9th November Performance Location: Roma Street Parklands Amphitheatre, Brisbane Rehearsal Times: To be advised Warnings: Cross-gender performance, romantic intimacy, physical comedy You may be asked to perform in outdoor conditions Required Age: 18+ Creative Team : Director / Designer: Xanthe Jones Production Manager: Laurene Cooper-Fox Available Roles: VIOLA - A clever, resourceful young woman shipwrecked in Illyria. She disguises herself as a man, “Cesario,” to survive and finds herself caught in a love triangle. Strong text work and emotional nuance needed. Potential for gender-fluid casting. DUKE ORSINO - The melancholic, poetic Duke of Illyria who believes he’s hopelessly in love with Olivia. He grows close to Cesario (Viola in disguise). Charismatic, emotionally expressive actor with strong verse delivery. OLIVIA - A noblewoman in mourning who swears off men—until she meets “Cesario.” Requires strong comedic timing and confident presence. SEBASTIAN - Viola’s twin brother, thought to be dead. His sudden arrival causes major confusion and resolution. SIR TOBY BELCH - Olivia’s hard-partying, witty uncle. A mischief-maker who loves wine, women, and practical jokes. Excellent comic timing required. A strong physical actor ideal. SIR ANDREW AGUECHEEK - Sir Toby’s ridiculous, awkward friend who tries (and fails) to woo Olivia. Physical comedy and precise characterisation key. MARIA - Olivia’s sharp-tongued lady-in-waiting. Loyal to Olivia but loves stirring the pot. Witty, confident, and commanding with comedic savvy. FESTE - Olivia’s “fool” – but don’t be fooled. Feste is the wisest character in the play. A singing jester with a sharp tongue and quick wit. Requires excellent comic delivery and musical ability (singing or instrument a plus). MALVOLIO / HOLY FATHER - Malvolio is Olivia’s uptight steward who dreams above his station and is hilariously duped into thinking Olivia loves him. A tragicomic figure. May double as a priest/confessor character. ANTONIO / SHIP’S CAPTAIN / ATTENDANTS - Antonio is a devoted friend and possible love interest to Sebastian.

Title: bare Presented By: Phoenix Ensemble Genre: Contemporary Rock Musical Synopsis: Set in a Catholic boarding school, bare follows a group of students as they navigate the complexities of identity, sexuality, faith, and love. At the centre are Peter and Jason—two boys in a secret relationship—struggling with the fear of being outed. As the group attempts to put up a production of Romeo and Juliet, tensions flare, selfdoubt simmers, and God’s path seems more difficult to find than ever. bare rings with the sounds of youthful repression and revolt. With a unique sung-through pop score, heartpounding lyrics, and a cast of bright young characters, bare is a provocative, fresh, and utterly honest look at the dangers of baring your soul, and the consequences of continuing to hide. Audition Details: Audition Dates: Friday 25th July and Saturday 26th July Audition Times: 25th July: 6:00pm – 9:30pm 26th July: 11:15am – 5:00pm Dance Call: Saturday 26th July, 9:00am – 11:00am (compulsory for student roles) Callbacks: Sunday 27th July (by invitation only) Audition Location and Address: Phoenix Ensemble, Beenleigh Showgrounds, James Street, Beenleigh, QLD 4207 Audition Registration: Register Here Audition Pack: bare Audition Pack PDF Audition Requirements: Prepare two songs: One musical theatre song in the style of the show One additional musical theatre or 90s/2000s pop/rock song Songs should be 45 secs – 1 min long and showcase storytelling Bring your own backing track (Bluetooth or AUX compatible device) Acting: Cold reads from provided scenes (available on website and in-room) Accent: General American Dance: Learn choreography from video (available from 11th July) Optional: Advanced dance call (for strong dancers) to “All Grown Up” Scheduling: Performance Dates: 7th - 22nd November Fridays and Saturdays – evening and matinees Performance Location: Phoenix Ensemble (Beenleigh Showgrounds) Rehearsal Dates: Commence 3rd August Mondays & Wednesdays: 7:00pm – 10:00pm Sundays: 1:00pm – 6:00pm Photoshoot: 17th August Bump In: 5th October Tech/Final Rehearsals begin 19th October Other Information: Required Age: 18+ Warnings: An intimacy coordinator will be engaged for the production. This production explores heavy and potentially distressing themes, including: Strong language Drug use Homophobia Teen pregnancy Suicide Sexual language and behaviour Violence Onstage intimacy Creative Team: Director: Jo Burnett Musical Director: Alex Angus Choreographer: Grace Clarke Production Website: https://phoenixensemble.com.au Other Information: Phoenix Ensemble is an amateur company; roles are unpaid. Cast members must become financial members and hold or obtain a Blue Card. Character Breakdown: Peter Voice Type: Baritone/Tenor | A#2–A4 Sensitive, introspective, and kind. A drama student deeply in love with Jason but terrified of the consequences of being open about it. LGBTIQ+ performers encouraged to audition. Jason Voice Type: Baritone/Tenor | A2–A4 Popular, athletic, and confident on the outside, but internally torn. He's Peter’s secret boyfriend and struggles to reconcile his public image with his private feelings. LGBTIQ+ performers encouraged to audition. Ivy Voice Type: Soprano | G3–D#5 Confident, beautiful, and seemingly perfect, but harbours deep insecurity. She’s entangled in a complicated dynamic with Jason and Nadia. Nadia Voice Type: Mezzo-Soprano | G3–C5 Jason’s twin sister. Cynical, witty, and overlooked due to her size. Struggles with self-worth and often clashes with Ivy. Plus-sized performers encouraged to audition. Matt Voice Type: Baritone | A#2–G4 Righteous, jealous, and academically driven. Jason’s rival and secretly infatuated with Ivy. Religious and deeply repressed. Lucas Voice Type: Baritone | A2–E4 Laid-back stoner and school drug dealer. Comedic, eccentric, and often with his girlfriend Tanya. Delivers a humorous “white boy rap.” Tanya Voice Type: Soprano | G3–D#5 Lucas’ sassy girlfriend. Confident and vivacious. Features in a Supremes-style trio number. BIPOC performers encouraged to audition. Diane Voice Type: Mezzo-Soprano | B3–C#5 Tanya’s friend and one of the backup singers in the Supremes-style trio. BIPOC performers encouraged to audition. Rory Voice Type: Soprano | B3–D#5 Naive, quirky, and a bit of an airhead. Offers a lighter comedic presence. Zach Voice Type: Tenor | C#3–F4 Jock-type student. May cover principal roles depending on casting. Alan Voice Type: Tenor/Baritone | A#2–F4 Nerdy, awkward student. May cover principal roles depending on casting. Priest Voice Type: Baritone | A2–F#4 School headmaster and church leader. Likely a closeted gay man. Stern and emotionally repressed. Claire (Peter’s Mum) Voice Type: Mezzo-Soprano/Soprano | E3–F5 Loving but conflicted mother trying to come to terms with her son’s identity. Sister Chantelle Voice Type: Soprano | G#3–E5 Wise, hilarious, and no-nonsense nun who oversees the school’s theatre program. Serves as a mentor to Peter. Must be played by a BIPOC performer. Swings (2 roles) Swing 1: Covers Jason or Peter, plus Zach or Alan Swing 2: Covers Ivy or Nadia, plus Rory or Diane Requirements: Strong singers and actors with the ability to learn multiple tracks and adapt quickly. Featured Dancer Femme-presenting ensemble member with strong contemporary dance ability. Will present 8–16 counts of improvised movement to “All Grown Up” at the Advanced Dance Call.

Title: Night of the Living Dead! The Musical! Presented By: Ghostlight Theatre Co. Genre: Horror Rock Musical / Comedy Synopsis: Get ready for zombies, rock power ballads, and bloody mayhem! Based on George A. Romero’s cult classic horror film, Night of the Living Dead! The Musical! is an epic rock-fuelled horror musical by Jordan Wolfe, packed with witty dialogue, terrifying twists, and an electric score performed by a live band.Following the hit success of Evil Dead: The Musical, director Yasmin Elahi returns to Brisbane with another hilarious horror romp. This fast-paced, high-energy show sees actors take on multiple roles while belting out rock bangers and navigating blood-soaked chaos.Note: This show contains violence, blood, coarse language, sexual references, horror themes, and moments of intimacy. Audition Date: Saturday 26 July 2025 Audition Time: Time slot will be emailed Audition Location and Address: EvilCorp Horror Maze, 226 Brunswick St, Fortitude Valley QLD Audition Registration: Register Here Audition Requirements: Prepare two 1-minute cuts of musical theatre songs in the style of the character you're auditioning for Songs must have a rock flavour and be performed in a standard American accent All auditionees will participate in a group dance call (details provided upon registering) Callbacks will be held on Thursday 31st July from 7:00pm You’ll be notified by Sunday night if you’re needed for callbacks Available Roles: All cast members play multiple characters. Vocal ranges and primary traits included below. Ben (30s): Smooth, heroic, cocky but lovable action lead. Also plays Adda Morgue (perky reporter) | Tenor – D3 to Bb4 Johnny (20s–30s): Wise-cracking brother to Barbara. Also plays Tom (teen boyfriend) and Dan the Science Man | High Tenor – C3 to B4 Harry (40s–50s): Grumpy dad and husband. Also plays Sheriff Tractor (wild, sexy Southern sheriff) | Baritone or Tenor – Bb3 to A4 Barbara (20s–30s): Polite, strait-laced heroine with growing terror. Also plays Dr Gretchen (German medical examiner) | Soprano/Belt – A4 to E5 Judy (20s): Cheerful hippy and girlfriend to Tom. Also plays Betty-Lou (10 y.o.), Robin Graves (radio announcer), and Dr Greishen | Mezzo/Belt – G3 to D5 Helen (40s–50s): Loud, drunk wife and mum. Also plays Holden D'Seance (no-nonsense newscaster) | Mezzo – G3 to Bb4 Performance Dates: Friday 7 November – 7:30pm Saturday 8 November – 2:00pm Sunday 9 November – 6:00pm Friday 14 November – 7:30pm Saturday 15 November – 2:00pm Sunday 16 November – 6:00pm Friday 21 November – 7:30pm Saturday 22 November – 2:00pm Sunday 23 November – 6:00pm Performance Location: EvilCorp Horror Maze, Fortitude Valley Rehearsal Dates: Wednesdays, Thursdays, and Saturdays Rehearsal Times: Evenings (Wed/Thu) and afternoons (Sat) Warnings: This show contains strong language, adult content, horror themes, blood/gore effects, intimacy, and mature comedy. Required Age: 18+ (due to themes and content) Creative Team: Director: Yasmin Elahi Musical Director: William Pipe Production Website: https://www.ghostlightbrisbane.com.au/audition Other Information: This is a profit-share production. Further information will be discussed at auditions. Cast must become financial members of Ghostlight Theatre Co. ($25/year) If you have any questions, please email: ghostlight_theatre@outlook.com

Title: GLOW Cabaret: JUKEBOX Presented By: Phoenix Ensemble Genre: Cabaret / Musical Theatre Synopsis: Phoenix Ensemble is turning up the volume for its next GLOW Cabaret: JUKEBOX! This special event will celebrate all things jukebox musical—those high-energy shows filled with pre-existing hit songs. Think Mamma Mia!, We Will Rock You, &Juliet, Jersey Boys, Tina, Beautiful, and many more! Whether you’re keen to belt out a solo or groove in a group, now’s the time to shine. Audition Requirements: Submit two song choices (title and show) Upload a headshot (for marketing) Provide a video of yourself singing (can be your audition piece, previous performance, or showreel) Select availability for soundcheck on performance day Songs must be from jukebox musicals (musicals using pre-existing songs) Available Roles: Open to solos, duets, trios or group acts Performers must be 16+ Audition Registration: https://form.jotform.com/251726914118862 Performance Date: Saturday 19th July, 2025 – 7:30pm Performance Location: Phoenix Ensemble, Beenleigh Showgrounds, Cnr Milne & Kent Streets, Beenleigh QLD Rehearsal Times: Performer-led preparation – soundcheck availability to be indicated on the form Production Website:https://www.phoenixensemble.com.au Ticket Link

Downtown: The Mod Musical  unfolded as a colourful collage of the ‘60s — part concert, part sketch show. Footlights Theatrical leaned into the revue format, letting the audience settle into familiar songs, pop references and the charm of the era without needing much story to guide us through.   Directed and choreographed by Helen Ekundayo , with Isabelle Quayle  assisting and Benjamin Richards leading a small-but-mighty band, the show made the most of its in-the-round staging. Each of the five mod girls had her own rainbow persona — Jacqui Trappett (Blue) , Niamh Smith (Yellow) , Sabre Barr (Red) , Emma Hodis (Green) and Della Days (Orange)  — and they each had moments where they shone.   Della Days came out swinging with some powerhouse Dusty Springfield vocals, while Sabre Barr and Jacqui Trappett floated through their numbers with lovely, honey-smooth tone. Emma Hodis fully committed to her cheeky Cockney character, earning plenty of laughs, and Niamh Smith threw herself into her Beatlemania with a level of second-hand cringe that was honestly delightful. Plus, Niamh's “Son of a Preacher Man” absolutely slapped.   With so much of the show sung through, the cast spent the night juggling lead vocals and backing harmonies. Sometimes it felt like they were each trying to out-sing the others rather than meld into one blended sound, but when they did  lock in, the result was a bold, gorgeous five-part punch.   Between songs, the show sprinkled in retro ads and “Shout” magazine guidance, which added a cute framing device while also nodding to the messier realities women faced, from outdated dating “rules” to violence against women and the experiences with queer identity.   The costumes were a technicolour dream, evolving through the decade with big wigs, bright fabrics, vinyl shoes and Go Go boots. The lighting joined in on the fun, shifting to match whatever rainbow creation the girls walked out in.   Not every comedy sketch hit its mark and the opening megamix needed more oomph, but the solos absolutely delivered. “To Sir With Love” was heartfelt, “End of My World” soared, and “Don’t Sleep in the Subway” was pure sweetness. The marijuana scene was as unhinged, with each girl reacting in her own way, and it all peaked with a surprisingly fantastic a cappella moment with the “Goldfinger" theme.   I did find myself wishing for some handheld mics to add a bit more flair to the staging, especially with how much singing was required. And as stunning as each performer was in her solo, it was a little obvious at times that the others were deep in concentration mode with their blocking and choreography. No judgement at all. We’ve all done the exact same thing.   The audience had a ball, especially during “These Boots Are Made for Walking,” and when the title song “Shout” arrived near the end, everything snapped together with the full force of five mighty voices. It was a lively, nostalgic romp through the decade that shaped modern pop culture, delivered with heart, humour and a whole rainbow of mod energy.

Presented by Honour Productions Directed by Sherryl-Lee Secomb Produced by Tina Atiga Musical Direction by Geoff Secomb Choreography by Jordana Johnstone Band Direction by Raymond Hernandez Honour Productions’ Prime Time Broadway  was a joyous, emotional, and downright entertaining celebration of life’s many chapters—from the wonder of childhood to the heartbreaks and triumphs of adulthood, all told through the beauty of song. Rather than following a single narrative arc, the show blossomed as a musical theatre revue, weaving together solos, duets, and ensemble numbers to reflect the different “seasons in life” we all pass through. The result? A vibrant, moving showcase of talent across ages, fuelled by passion and elevated by stellar vocals, a killer band, and clever song choices. The night began on a poetic note, with a beautiful original poem about time written and performed by Samantha Thomas, setting a reflective tone that echoed through the rest of the show. From there, childhood burst forth with absolute joy. Young Vincent Taylor charmed the audience with Red Ryder Carbine Action BB Gun  (from A Christmas Story ), embodying the wide-eyed excitement of imagination and make-believe. He was quickly followed by Yzabel Santos, whose performance of Six Hours as a Princess  captured all the innocence and sparkle of childhood dreams. As the show journeyed into adolescence, the skill on stage ramped up. Jordan Atiga blew the roof off with What It Means to Be a Friend  (from 13 the Musical) —a performance so powerful and vocally rich that it left me completely envious of this teen's talent. More young adults then burst onto the stage for a joyful, high-energy rendition of Brand New You , which felt like a giddy celebration of new beginnings. One of the joys of this revue was the way it celebrated growth—not just thematically, but artistically. Alex Holmes, in particular, shone as a young performer coming into his own with his a heartfelt performance of Me & Mr Popularity  (from In Pieces ); sounding and looking completely engrossed in the sincerity of his character. Another standout moment was Caley Munro’s I Can Do Better Than That  (from The Last Five Years) . Not only was the arrangement phenomenal (there are so many lyrics!), but Caley’s delivery was brimming with skill, storytelling, and precision. She also later tackled Whipped Into Shape  (from Legally Blonde ) with high energy, transforming it into a hilariously relatable all-ages fitness class. Throughout the show, some clever visuals and backdrop changes helped frame each “season” without distracting from the performers. And oh my - the band! Under the direction of Raymond Hernandez, this group of musicians was on fire. Especially powerful in Kirsten Brown’s solo, Stupid with Love  (from Mean Girls ). Her precious voice and loveable persona were an absolute treat, but it was the band behind her that brought that extra sparkle to the song. They rocked from start to finish, tight and expressive and full of life. There were so many vocal moments that deserve thunderous applause. The stand-and-sing Mama Who Bore Me  (from Spring Awakening ) was a powerhouse 4-part harmony moment—those vocals! Who are these divas?! The harmonies were absolutely outstanding and felt like a mic-drop early in the show. There was also I Know Him So Well  (from Chess) , performed by Jamie Catungal and Kinta Suryadarma, which gave me genuine goosebumps. Their blend was seamless, emotional, and mature beyond their years. The duet Bloom ( from In Pieces) , performed by Maddi Halvorson and Nathanael Tadle, felt like the perfect first date song—soft, warm, and full of fuzzy feelings and lighthearted mockery. Meanwhile, What Does She Mean By Love?  (from Daddy Long Legs)  gave guitarist Mackinlay Carr a chance to step out in front of the microphone. His vocal tone and confidence was deeply pleasing and impressive. The chronological transition between songs was smartly structured, with emotional ebb and flow. One group number led into a cheeky All Shook Up  wedding scene, which in turn was followed by Alicia Brite’s gut-punching performance of Why Can’t That Be Me?  from Muriel’s Wedding . It was a perfect shift into melancholy, showcasing the show’s ability to swing between joy and pain with ease. Tina Atiga delivered a show-stopping performance of And I’m Telling You  (from Dreamgirls) ; a notoriously difficult number known for its belting and required sustain control. And let me tell you: she absolutely blew the entire roof off! It was powerhouse vocals and emotional commitment at its finest. Meg Kiddle delivered something different from her usual style with Nothing Short of Wonderful (from Dogfight ), seamlessly transitioning between the precise lyrics of the fast-paced sections and the tender vulnerability in her balladic parts. Her subsequent duet with Kiarra Wilson— Some Things Are Meant to Be (from Little Women) —was heartbreakingly beautiful and emotionally impactful. It was a perfect mother-daughter moment, followed by Laura Fois’ breathtaking rendition of Gold , which blended exquisitely with the strings and filled the theatre with a serene elegance. And then, there was Samantha Thomas. Her rendition of I'm Here  (from The Color Purple)  was nothing short of flawless—no exaggeration here. Every note was rich, powerful, and heartfelt, delivered with stunning control and emotional depth. Whether the cast used handheld mics or taped ones, the sound quality in this venue was glorious, allowing Samantha’s vocals to soar effortlessly through the space. Not to be outdone, Fiona Buchanan took the stage with a deliciously sassy and commanding performance of Mother Knows Best . She was every bit the mother—witty, theatrical, and vocally sharp, with presence to spare. Later, she joined James Hogan for the cheeky duo I Love You Like a Table  (from Waitress) . Their playful chemistry made it a hilarious highlight of the night. As a final twist—an upbeat version of What I Did For Love —played with expectations. Despite the subversion, it remained a bold, moving finale that tied the night together with love for performance and the journey we all walk. It’s still one of my favourite musical theatre songs, and I adored this rendition. From the youngest performers playing make-believe to seasoned singers belting out ballads, Prime Time Broadway  was a masterfully curated evening of talent, heart, and storytelling. Every solo was carefully placed, every performer celebrated, and every song chosen with intent. I was thoroughly entertained and left with a full heart—and a newfound list of songs I now need to go add to my musical theatre playlist! Photography by Deb Mayes and Samantha Hancock

Written by Mart Crowley Presented by Sunnybank Theatre Group Directed by Chris O’Leary   The Boys in the Band  isn’t your typical birthday bash. It’s an emotionally charged night of booze, banter, and brutal honesty. As Harold arrives to celebrate his birthday, with his trademark sarcasm and an ever-growing fear of fading youth, the party shifts from playful to prickly. He’s joined by Michael, their tightly-wound host barely holding it together, and a parade of friends who bring with them more than a few unresolved issues. But it’s the arrival of Alan, a supposedly straight married man, that upends the night. Alan’s unannounced drop-in throws the group dynamic off balance as he skirts around a mysterious confession and struggles visibly in the company of openly gay men. As the drinks flow and dinner (and actual birthday cake!) is served mid-scene, facades begin to drop and things take a darker turn. The evening spirals into a game—one that demands each man phone someone they once loved and tell them so—whether or not they ever dared say it aloud. What starts as banter ends in bruised egos and emotional cruelty and plenty of revelations. Written by Mart Crowley in 1968, the play was groundbreaking in its honest portrayal of gay men. It was one of the first to put gay men at the center of a narrative, not as caricatures, but as complicated, layered people. It wasn’t born of activism, but from Crowley’s frustration and truth—and it shocked mainstream audiences who weren’t ready to see queer stories told this openly. The heart of the play is its ensemble, and the full-cast scenes are vibrant, chaotic, and layered. There’s tension, flirting, teasing, history, or affection beneath every interaction. Michael Ware is sharp and full of mystery as Michael, the host who’s just barely holding it together. He’s got the haughty charm of a house cat—witty, restless, and on edge, he prowls the stage with nervous energy—always teetering on the edge of control. Ware leans into Michael’s contradictions as both ringleader and saboteur: he’s hosting the party and slowly dismantling it at the same time. He captures the self-loathing undertones of the character with striking accuracy, particularly in a tense and believable panic attack. Michael’s maybe-boyfriend-maybe-ex, Donald, is played with easy charm by Patrick Lockyer. He’s a steadying presence in the chaos—equal parts supportive and slightly detached. Lockyer brings a quiet calm to Ware's storm, and their dynamic adds an interesting emotional layer beneath all the noise. One by one, the “boys” show up, and the energy in the room practically buzzes. Jackson Poole is an absolute scene-stealer as Emory—the gloriously flamboyant spark-plug of the group. He’s loud, unapologetically proud, and unfiltered, delivering camp and sassy one-liners in all the right doses. Emory’s confident presence would’ve rattled plenty of folks in the ‘60s, and that defiance is part of what makes him so magnetic. His confrontation with Alan (Andrew Roberts), builds slowly from awkward unease to sudden violence with confronting realism. Both actors handle that shift from icy politeness to full-blown aggression with impressive skill. Andrew Roberts plays Alan with tight-lipped repression and subtle curiosity. You can see him quietly analysing everything around him, his body stiff with discomfort. His fascination with the others never quite reads as judgmental; instead, there way be a quiet longing under the surface. Is denial a river in Egypt? Maybe. Larry (Mark Richardson) and Hank (Levi Windolf) represent the classic opposites-attract couple: Larry the restless commitment-phobe young stud, and Hank, his quieter, more conservative partner with a hetero-typical past. Their arguments feel laced with long-held frustration, and the actors sell the emotional weight of their differing views on love and monogamy. Nathias Warkill as Bernard brings a beautifully understated softness and pathos to the room, with glimmers of pain just beneath his librarian calm. His scenes are marked by a sense of longing and quiet resilience, especially as the infamous party game drags long-buried feelings into the light. Thomas Wood is wonderfully endearing as Cowboy—the birthday “gift” with zero awareness and impeccable comedic timing. Every line lands with an awkward thud in the best possible way, and the silences he leaves in his wake are deliciously awkward. Then, just when you think the dynamic can’t get more chaotic, Harold finally arrives—and Bradley Chapman makes sure it’s worth the wait, with acid-tongued sass and impeccable deadpan delivery. There’s a Nathan Lane-in- The Birdcage  flair to him, but Bradley also brings a bitter depth to Harold’s birthday melancholy. His monologues are equal parts cutting and poignant, delivered with the kind of cynicism only a self-proclaimed “ugly, pock-marked Jew fairy” can pull off with style. The most exhilarating scenes happen when all nine actors are onstage at once, bouncing off each other with overlapping dialogue, shifting alliances, and rhythm that feels both theatrical and true to life. Quips turn cutting. Jokes turn cruel. Resentments and regrets begin to bubble to the surface. The infamous “call someone you love” game is as devastating as it is revealing. Secrets are spilled, bonds are tested, and the illusion of safety crumbles. The direction by Chris O’Leary keeps the movement natural and fluid. With nine characters on stage for much of the play, it could easily feel cluttered, but the blocking is impressively clear and dynamic. The staging also makes smart use of the space, including the raised bedroom area behind the sheer curtain. However, some moments behind the curtain are difficult to hear due to competing sounds from outside the venue (cars) and inside (a few coughing). The language, while far from politically correct by today’s standards, is delivered with context and intention—it’s of its time, but not dismissed. And the production never shies away from the discomfort it brings. The set itself feels like an authentic 1970s bachelor pad—earthy tones, stocked bar cart, and rotary phone. It’s a space that feels safe, a haven for found family—until it suddenly doesn’t. The Boys in the Band  is not a light-hearted comedy, though there are moments that will make you laugh out loud. It’s a sharp, emotional, and deeply human play. Sunnybank Theatre Group’s cast pours everything into their performances, and the result is an honest, moving night of theatre that reminds us how far we’ve come—and how far we still have to go.

Presented by Metro Arts By Jo Loth & Anne Pensalfini Directed by Bridget Boyle Musical Direction by Lucinda Shaw Choreography by Neridah Waters Bravado, biceps, and bulges.   If the words “drag kings do Shakespeare” don't immediately intrigue, then allow me to shake-splain just how glorious DragSpeare  truly was. Presented by Metro Arts and created by the fabulous minds of Jo Loth and Anne Pensalfini, this bold, irreverent, and high-energy cabaret was unlike anything I’ve ever seen (and I’ve seen a lot of Shakespeare). The concept? Five drag kings take on some of the Bard’s most famous works, throw in iconic rock anthems, sprinkle in a heaping dose of camp, and layer it all with enough sexual tension, comedy, and poetry to leave your jaw somewhere on the floor by the conclusion. DragSpeare was part Monty Python skit, part Shakespeare seminar, part gender-bending cabaret fever dream. The show opened with a mashup (sung live) of Black Parade and What About Me , followed immediately by Don’t Stop Me Now , naturally. It set the tone perfectly: big energy, big wigs, and bigger pants (stuffed, of course), to comedic perfection. The characters strutted and thrust their way onto the stage as The Stallion Squad began their “Royal Road Tour”, and I quickly realized I needed five sets of eyes to take in every character at once! Jo Loth (Swingin’ Dick) kicked things off as our delightfully dirty narrator and shakes-splainer, guiding us through scenes with equal parts sincerity and stupidity. Their explanation of Hamlet  in one phrase (“existential crisis”) was chef’s kiss . Think academic meets after-dark special, as Biron Bothways (played by the smooth-voiced Anne Pensalfini) launched into a haunting rendition of Mad World . Each of the kings embodied their chosen Shakespearean role to perfection. We followed Macbeth, Hamlet, King Lear, Richard III, and Romeo all reimagined through a wonderfully queer, cocky (pun intended), and creative lens. The transitions were seamless and the cast’s energy never dipped, which is impressive given that they had to act, sing, dance, wield puppets, and play instruments! Rocky V. Liquor (Michelle Lamarca) was one of my favourites to watch, often doing the funniest things in the background: whether leading an absurd Eye of the Tiger rendition in support of Macbeth’s descent into madness or playing Lady Macbeth (drag upon drag costuming!) with a hilariously strong Southern accent. “Out, damn spot,” will never sound the same again. York Lit (Jules Berry) as Romeo was another comedic highlight, as they fully leaned into the strong Aussie accent and puffed-up bravado. Their performance of Never Tear Us Apart  while serenading Biron as Juliet was so earnestly funny it hurt. Not to mention York’s bedazzled beard was an absolute serve. The Romeo and Juliet segment was filled with quick wit and Shakespearian absurdity: “Why do the Montagues and Capulets hate each other? Because they’re Italian, that’s why.” Pan Tasticle (Lucinda Shaw), meanwhile, stole scenes left, right, and centre. From becoming all three witches in Macbeth  using finger puppets with tiny witch hats, to slipping into Ophelia’s grief with a raspy Cockney accent while interspersing Somebody That I Used to Know , to delivering a soul-stirring Everybody Hurts , they balanced ridiculousness and emotional honesty with such skill. Their King Lear  storm monologue was unexpected, powerful, poetic, and dramatically delicious! DragSpeare  was wildly clever in its ability to be both completely unhinged and musically moving. It was queer anarchy crashing into theatrical tradition, and instead of cancelling each other out, the combination elevated both. The show’s penultimate moment was perhaps its strangest and most wonderful: Richard III (Rocky) at first stammering through Shakespeare prose, only to suddenly deliver an eloquent monologue, while a BDSM Lady Anne (York) strutted around in thigh-high boots and a corset stuffed with tissues, singing Creep . I genuinely didn’t know whether to laugh, gasp, or scream “slay!”. So I did all three. It all came together in a gloriously chaotic finale, with a dash of A Midsummer Night’s Dream  for good measure, before closing with Bowie’s Heroes . DragSpeare  felt fresh and spontaneous, yet so polished that none of the language was fumbled. This was not the QCS Shakespeare that you studied in school... It was a celebration of performance, of queerness, of the ridiculous and the raw. A show full of laughter, clowning, campy brilliance, and fierce vulnerability. DragSpeare  had it all and then some. Photography by Joel Devereux, Morgan Roberts, Deb Mayes and Frank Hakl