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I went into "Love" braced for an emotional rollercoaster (it’s no rom-com, trust me), but despite expecting pure gloom from the synopsis, I found myself utterly riveted, drawn in by the raw humanity onstage and still thinking about it almost 2 weeks later. Salad Days Collective presented a powerful interpretation of Patricia Cornelius's ' Love ', delving deep into the harsh realities and struggles faced by three young individuals navigating love and survival on the outskirts of society. Directed by Ava Rusch, this gritty narrative was vividly staged at South Brisbane’s VENTspace. The storyline of ' Love'  follows the turbulent lives of Tanya, Annie, and Lorenzo, three young people bound by a fierce desire for connection in a world that has otherwise failed them. Living in gloomy backstreets and rundown squats, Tanya and Annie share a co-dependent yet deeply caring relationship where love, business, and survival are entangled. When Tanya briefly lands in jail, Annie finds companionship in the enigmatic Lorenzo, sparking a tense love triangle. As the bonds between them shift and strain, we see a brutally honest picture of the lengths people will go for connection, no matter how distorted or harmful it may be.   The small but formidable cast, comprising Jasmine Prasser as Tanya, Georgina Sawyer as Annie, and Leo Buzac as Lorenzo, brought Cornelius’s grim, poetic vision to life with astonishing depth. Their performances were undeniably compelling, with each actor embodying the grit, vulnerability, and desperation of their characters.  Georgina Sawyer’s portrayal of Annie was especially gripping; her haunting dissociative gaze and wild demeanour captured the erratic highs and lows of this character with devastating accuracy. Sawyer infused Annie with a tragic vulnerability, often eliciting laughs from the audience before plunging back into heart-wrenching moments of discomfort. She delivered Annie’s childlike hopes, depressive states, and turbulent drug-fuelled highs with striking realism, often looking genuinely ill and embodying the manic energy of a young woman clinging to fleeting hopes. Jasmine Prasser as Tanya carried a palpable heaviness, her every movement and expression seeming weighed down by life’s hardships. Her depiction of Tanya’s inner struggle—a woman who loathes her own femininity—was profound. In particular, Prasser’s performance in the final scene was nothing short of gut-wrenching, showcasing the anguish of a character trapped between fierce love and intense personal conflict. Prasser and Sawyer’s on-stage chemistry was remarkable, painting a vivid picture of a relationship both intensely affectionate and strained by dependency and unspoken pain that it felt as if we were intruding upon something intensely private. Their arrangement involved Tanya acting as Annie's pimp and occasionally resorting to theft. While there are many instances where it seems Tanya is exploiting Annie for financial gain, a poignant moment reveals Tanya's readiness to go to any lengths for Annie, even if it meant sacrificing her own self-perception. Leo Buzac infused Lorenzo with of mixture of playfulness and darkness, introducing a volatile new addition to Annie and Tanya's messed-up world. From his swaggering entrance to his eventual downfall, Buzac depicted Lorenzo as both a catalyst for chaos and a tragic figure in his own right. Lorenzo's deteriorating physical and emotional state was obvious, characterised by a jittery and sweaty appearance that vividly embodied an addict's desperation. His unpredictable nature only heightened the play's inherent tension, particularly as his addiction worsened and his temper grew more intense. Ava Rusch’s direction skilfully harnessed the complexities of the story, allowing moments of dark humour to breathe amidst the intensity. Sawyer and Buzac managed to elicit laughs despite the heavy themes; an impressive feat. The choice of VENTspace as a venue proved ideal; the dialogue resonated clearly, and the sounds of the actors’ explosive confrontations likely reached passersby outside. With the audience mere metres from the action, every harsh word, desperate glance, and violent encounter was intensified. The set featured a lone mattress, wooden slats, and a hollow door frame, allowing each actor’s movement to resonate fully within the space. At times, the actors moved up and down the aisles but never acknowledged the audience, creating a sense of disarray that pulled us deeper into their gritty world. Costume design and accents reinforced the characters’ dire social class, with ragged clothing and a rough, bogan inflection adding authenticity to their portrayals. 'Love'  was raw and harrowing, with moments that felt so real and intense that it was easy to forget you were watching a play. In a year filled with excellent dramatic performances, ' Love'  stands out as one of the most intense and brilliantly executed productions I’ve seen. Having seen Prasser and Sawyer in lighter roles in ' Scenes with Girls' , it was a pleasure to witness them tackle something so challenging and raw, with both actors delivering standout performances that left a lasting impression on me.

Once upon a time... the fairy tales lied. 'WOman'  at Backbone Festival offered an intense exploration of feminine fury. Told through a tapestry of slam poetry and Greek chorus-inspired movement, it left the audience both shaken and moved. Directed and written by Georgia Hollis, Edwina Saunders, Lottie Banford, and Belle Ahern, this powerful piece pulled audiences deep into a visceral experience of oppression, objectification, and pure rage that every woman could relate to on some level.   The opening scene was striking in its simplicity yet undeniable in its impact: when the cast was asked “What’s it like to be a woman?”, the response was a primal scream from all four women on stage. This wordless moment spoke volumes, embodying a frustration too intense for words. Each of the four actors shared the spotlight, delivering standout moments in both storytelling and movement. Particularly memorable was the “water off a duck’s back” monologue, where the speaker explored resilience and dismissal. In another scene, they juxtaposed the experience of being a woman with that of being a dog, forced to obey, “bark, bite, be a good girl.” The comparison powerfully illustrated the societal constraints that condition women to silence their own voices, leading to moments of seething rage and quiet compliance. The script itself was a standout, concise and effective, allowing each scene to feel well-paced and well-placed. The dialogue was peppered with moments of dark humour and fury, carefully choreographed into physical expression. One scene found the women reciting lists of things they’ve been told or taught over time, building to a crescendo that left the audience feeling the same frustration and weariness. Another scene had the cast naming real-life victims of violence, lending an additional gravity to the heavy performance. Four simple chairs became a conduit for the characters’ desires and constraints. The scene where the women were knocked down off these chairs while shouting their ambitions—to be safe, to be a mother, to become a CEO—felt reminiscent of the impassioned speech on womanhood from ' Barbie' . It was delivered with a weight that hung in the air, starkly reminding the audience of the paradoxes and contradictions that society forces upon women. Moments of interaction - covering mouths, imitating the actions and speech of men causing discomfort to women in public, were authentic. For a piece that contained many confronting themes, the production was tastefully balanced. Although there were content warnings, nothing felt gratuitous or unnecessary; every moment served the larger message of WOman . The whole production was rehearsed to perfection, with each actor’s delivery, gesture, and movement contributing to a well-rounded ensemble piece. The raw talent and synergy of the cast, along with the script’s insight and honesty, make WOman  a critical work of contemporary theatre that would benefit from an extended run to reach a wider audience.

By Tom Stoppard Directed by Thomas Eastwood The Island of Misfit Players debuted on the Brisbane stage with an exceptional production. Their rendition of Tom Stoppard’s ' Rosencrantz & Guildenstern Are Dead' was a wild ride of laughs and profound thoughts that had the audience glued to their seats, laughing out loud, and scratching their puzzled heads all at once! In this lengthy play, two minor characters from Shakespeare’s ' Hamlet' , Rosencrantz and Guildenstern, find themselves in the spotlight. The play opens with these two buddies wandering in a strange, nondescript world, unable to remember how they got there. As they repeatedly flip a coin that lands heads each time, they question if chance is just playing a prank on them or if there's some cosmic force at play beyond their control. Meanwhile, Hamlet’s story unfolds in the background, but Rosencrantz and Guildenstern remain oblivious to the larger context, trapped in a series of bizarre events and philosophical discussions. Summoned by King Claudius to uncover the cause of Hamlet’s madness, they stumble through their detective work, often falling into confusion and comical misunderstandings. They often encounter the Player, the leader of a troupe of tragedians, who attempts to enlighten them on life’s theatrical nature, but they remain lost in the quest for their purpose. When Rosencrantz and Guildenstern are sent to escort Hamlet to England, their true purpose—and impending doom—begins to surface. Ultimately, they learn that they are mere pawns in a larger story, unable to escape the fate scripted for them. Leading the charge were Thomas Eastwood and Alexander Blue, whose interplay and comedic timing created a timeless comedic double act. Eastwood’s philosophical musings as Guildenstern artfully clashed with Blue’s lovably bewildered Rosencrantz, creating a hilarious existential banter. The duo sustained their energy across the play’s three-hour runtime, mastering Stoppard’s complex dialogue with a natural ease. Eastwood’s dedication to Guildenstern’s often frantic existential musings brought an intriguing contrast to the play’s dark humour. Alexander Blue had a childlike curiosity as Rosencrantz, which brought warmth and plenty of humour to a character destined for tragedy. Playing the oh-so-theatrical Player King, Alexis Beebe brought a magnetic presence to the performance, blending charisma and enigma in every line she uttered. Beebe's portrayal spiced up the play's exploration of fate and showmanship, enriching every scene she was part of. Connor Scoble’s Hamlet was a rollercoaster of melodrama. His over-the-top interpretation contrasted the serious tone of ' Hamlet', offering moments of pure absurdity that fit perfectly within Stoppard's vision. His disassociated expression and intense delivery highlighted the play’s meta-theatrical themes. Liam Kenny was impressive in his versatility, shifting between the ominous Claudius and the silent but expressive tragedian Alfred. His character work gave Claudius a surprising depth, complete with a flawless accent, while his portrayal of Alfred displayed an endearing vulnerability in the troupe’s scenes. The ensemble brought a cohesive, vibrant energy to the production, enhancing each scene with physical comedy and a strong commitment to the absurdist nature of the play. Thomas Eastwood’s direction and delivery emphasised Stoppard’s sharp wit and layered humour, making the play both accessible and enjoyable while preserving its philosophical depth. Through careful attention to timing and physical staging, Eastwood ensured that even the wordplay-heavy scenes were brought to life with clarity, enabling the audience to engage more easily with the fast-paced dialogue. Visually, the production was well-realised, with set design and costuming that reinforced the timeless, liminal quality of the play’s world. While the production’s three-hour length didn't exactly fly by, each scene built upon the last, layering comedy and existential reflections into a rewarding experience that encouraged the audience to laugh and ponder in equal measure. 'Rosencrantz & Guildenstern Are Dead'  was an ambitious and rewarding debut for The Island of Misfit Players. This production not only did justice to Stoppard’s complex script but brought it to life in a way that was fresh, accessible, and endlessly entertaining; a highly promising start for this talented new theatre company.

Title:  Stranger Sings! The Parody Musical Presented By:  Millennial Productions Inc. Genre:  Parody Musical Comedy Synopsis: Join the upside-down world of Stranger Sings! , a hilarious parody musical of the iconic ‘80s-inspired series Stranger Things . Expect pop culture references, witty humour, and a charmingly nostalgic soundtrack as you follow Mike, Dustin, Lucas, and the rest of the Hawkins gang on their wild supernatural adventures. Audition Dates: Thursday, 28th November Location:  Bracken Ridge Community Hall, 77 Bracken St, Bracken Ridge QLD 4017 Individual Auditions:  6:20pm - 7:00pm, 8:00pm - 9:30pm Group Dance Call:  7:00pm Sunday, 1st December Location:  Toombul Shire Hall, 1141 Sandgate Rd, Nundah QLD 4012 Individual Auditions:  1:30pm - 4:50pm, 6:00pm - 8:30pm Group Dance Call:  5:00pm Callbacks: Date:  Wednesday, 4th December Time:  6:00pm - 10:00pm Location:  Bracken Ridge Community Hall Specific times for callbacks will be provided individually. Unavailability on this day may impact casting outcomes. Audition Requirements: Vocal:  Prepare two 1-minute pieces: One in 80's Pop/Rock style One contrasting Musical Theatre piece (Please avoid songs from the musical. Backing tracks are required, as no piano accompaniment will be available.) Dance:  Participate in a group dance call, which will involve learning choreography from the show. Wear comfortable, movement-friendly attire. Acting:  Auditionees will receive sides for a cold read in the audition room. Self-Tape Submissions (if unavailable in-person):  Video submissions, covering both vocal and acting components, are due by 5pm, Saturday 30th November . Submit via Dropbox/Google Drive link to: admin@millennialproductions.com.au Audition Registration: Register for an audition: Audition Registration Link For video submissions, use our alternative registration: Video Audition Link Rehearsals: Rehearsals will begin Sunday, 2nd February , following a 10-week schedule: Tuesdays:  7:00pm - 10:00pm, Bracken Ridge Community Hall Thursdays & Sundays:  7:00pm - 10:00pm, Toombul Shire Hall Additional Saturday rehearsals may be scheduled as needed. Attendance is expected at all rehearsals. A detailed schedule will be provided at the first session. Performance Dates: Performances will run 18th - 26th April 2025  at Ron Hurley Theatre, Seven Hills. Cast must be available for tech week beginning 14th April . Production Team: Director:  Kristen Barros Musical Director:  Victoria Keomahavong Choreographer:  Jess Briskie Character Breakdown: The ages stated below are playing ages. All actors must be 18+ years old. LUCAS : 12-years-old, Person of Colour, Tenor (D3-B4).  The skeptic of the group, he is hard to win over but is as loyal as they come. Ready for battle with the DEMOGORGON at any time. Also doubles as DEMOGORGON (The MONSTER of the show! Physically agile, with a street dance-inspired style and ability to freestyle with charisma and unique moves while wearing a full-face mask) and ERICA, Lucas’ little sister. Must have good PHYSICAL comedic timing.  MIKE: 12-years-old, Tenor (D3-Bb4).  Mike is the fearless leader of the group. While on a mission to rescue his best friend Will, he gets sidetracked by possible romantic feelings for ELEVEN. Strong movement ability preferred. Must have good comedic timing. DUSTIN : 12-years-old, Tenor (B2-Bb4).  Talkative yet wise-cracking, Dustin has a heart of gold that shines through his big smile that goes directly with his big personality. You can’t help but love him and agree with him on everything he says. He has a lisp. Curly hair a plus. Strong movement ability preferred. Must have good comedic timing.  STEVE/JONATHAN : 17-year-old, Tenor (G2-falsetto E5).  The high school heartthrob with the most glorious hair you’ve ever seen. He gives into the patriarchy easily, that is until an unlikely ally comes along to challenge him.  Doubles as JONATHAN. The outcast at school, he will stop at nothing to find his younger brother, WILL. He seems to be doing just fine on his own...that is until Nancy starts to notice him.  HOPPER: 25-45-year-old, Baritone (A2-F#3).  A Sheriff of Hawkins, he is an alcoholic with his own emotional baggage, but is driven to uncover the truth behind Will's disappearance. Looking for that “something more," he finds comfort inJoyce's off-beat personality as she looks for her son. Strong movement ability preferred and strong rock falsetto a plus. Must have good comedic timing. JOYCE: 25-40-year-old, Mezzo with Belt (Ab3-F5).   Constantly at a “10,” she is strong-willed yet hysterical and like Jonathan, will stop at nothing to find her son, Will. She also may have a few screws loose. Strong Winona Ryder impression a plus. Must have good comedic timing.  NANCY/ROBIN: 16-years-old, Alto with High Belt (F3-F5).  A smart and curious high schooler who thinks the world revolves around her and her love life. She may be well intentioned, but she pays the price for her narcissism when her best friend, Barb, suddenly disappears. Also briefly appears as ROBIN . Must have good comedic timing. Strong movement ability and jazz skills are a plus.  BARB : 16-year-old, Alto with High Belt (G3-E5).  She is the frumpy best friend who always seems to be forgotten. Hopelessly awkward and a bit naïve...that is until her best friend’s betrayal brings out her inner Regina George. This role calls for a STAR. Improv skills a plus. Strong movement ability preferred. Must have good comedic timing. ELEVEN : 12-years-old, Alto (F#3-E5).  She has telekinetic powers and a whole lot of Daddy issues. While physically small and a person of few words, her intensity cannot go unnoticed. Short hair (or buzzed) a plus.  ENSEMBLE: Additional ensemble members will be cast in a variety of minor roles and understudies. These roles include but are not limited to: WILL: 12-years-old, Tenor (C3-A4) or Alto (F#3 to F5).  Will may seem wimpy and a tad pathetic, but his resilience to stay alive and pursue big dreams is unparalleled. Must have good comedic timing. Puppeteering skills a plus. EIGHT Former a Hawkin’s Lab child with Eleven, who’s escaped and living freely! DR. BRENNER: Rock tenor.  Must have good comedic timing and strong movement ability.  Additional Information: Selected cast members will incur a $25 annual membership fee. No further fees are required. This production is not remunerated. We strive to respect the integrity of the production and strongly encourage applications from performers of varied experiences and circumstances including (but not limited to) performers from culturally diverse backgrounds and performers with disabilities. We encourage all performers of any gender identity to audition for the role(s) in which they believe are best representative of them as none of the below roles are restricted to any gender.

Produced by : Marina de Jager Directed by: Riley Cope Musical Direction: Rachel Breeze Choreography: Abby Cutlack   If you were looking for a show that packed an emotional and musical punch, ' Heathers' was the ticket you’d been waiting for. Based on the 1989 cult classic film, this production plunged us straight into the hormone-fuelled world of Westerberg High, where the Heathers rule the school and Veronica Sawyer is tangled up in a web of power struggles, mean-girl antics, and a whole lot of questionable life choices.   As my first-time stage experience with ' Heathers' , I was blown away from start to finish! The opening number 'Beautiful' showcased Veronica's impressive vocals and the memorable quick-change moment that had the audience cheering. From there, we were thrust into the heart of Westerberg, with a set that captured everything from the school's high walls to more intimate spaces, like JD’s bedroom and the local 7/11. The lighting and costuming were spot-on, with signature red, yellow, and green hues enhancing the 80s atmosphere. Kristin Sparks truly lit up the stage as Veronica Sawyer, capturing the character's teenage dorky charm. Her nuanced acting abilities and extensive experience allowed her to adeptly guide the character through a transformative journey, from vulnerability in the face of the Heathers' manipulation and susceptibility to JD's influence, to a steady realisation of the consequences of their cruelty. The legendary 'Dead Girl Walking' was electrifying as Veronica tipsily climbs through JD’s window to seduce him. Sparks' vocal register shifts and belting ability while executing challenging movements just further emphasised her remarkable talent. She had the audience eating out of the palm of her hand, balancing intense passion and rebellion with an underlying vulnerability. Plus, the stunning lighting enhanced the fiery atmosphere that engulfed the stage. By the time Veronica unleashed her solo, “I Say No,” Sparks had activated her character's inner badass survival mode. You could feel the weight of her character’s journey in every note. Her expressive eyes—exhausted, frantic, and desperate—told the entire story, akin to the gaze of someone struggling with an addiction. Nathan Wheeler as Jason Dean (JD) paired well with Sparks, resulting in an electric vocal connection on stage. His velvety voice infused with intensity brought a haunting quality to songs like 'Freeze Your Brain,' where the reverberation effect on the microphone transformed his delivery into something cinematic - revealing his villain origin story. As the show progressed and the stakes grew higher, JD's descent into darkness only enriched Wheeler's interpretation. By his climactic solo 'You Were Meant to Be Mine,' Wheeler's raw and desperate vocals drove home JD’s manipulative nature. The chemistry between Nathan Wheeler and Kristin Sparks was divine, particularly in the 'Our Love is God' and 'Seventeen' duets. Their voices meshed beautifully, with Wheeler’s deep, commanding tones perfectly complementing Sparks' equally strong vocals.   The three Heathers nailed their roles like they were born for it! Ashlyn Hehir as Heather Chandler, Kyra Stout as Heather McNamara, and Natalie Ferris as Heather Duke formed an impeccable trio, serving up a combination of ruthless cruelty and pure teenage ignorance. 'Candy Store' was exceptional, producing a rich harmony that hit that sweet spot (pun intended). These '80s mean girls had a magnetic pull that made it impossible to look away. Ashlyn Hehir was like the dream Heather Chandler I never knew I needed! Her voice soared and her comedy shone in 'The Me Inside of Me.' And even in her ghostly form, she completely dominated that stage. Kyra Stout poured her heart out in 'Lifeboat' as Heather McNamara, making us all feel the emotional weight of suicidal thoughts. It was a moment that reminded us of the real and painful realities of these characters' lives. And then there's Natalie Ferris as Heather Duke - she was the perfect mix of authority, sass, and attitude in her show-stopping solo 'Never Shut Up Again,' asserting herself as the new queen. Her lightning-fast costume change, insane vocal runs, and the whole ensemble dancing around her made it an iconic scene to remember.   Kurt and Ram were absolute scene-stealers who fully embraced the absurdity of their characters with wild enthusiasm. Played with impeccable comedic timing by Sage Lynch (Ram) and Eli Fahey (Kurt), the duo embodied the brutish buffoonery. These two might have been the stereotypical clueless jocks, but their performances were anything but one-dimensional. From their amusing antics in 'You're Welcome,' to their continuous reappearances in ghostly form, these two had a knack for turning every moment into a punchline. Sally Hancock delivered a remarkably heart-wrenching performance as Martha singing 'Kindergarten Boyfriend.' Her angelic vocals exuded vulnerability as this seemingly sweet song transformed into a poignant moment that revealed a lot more depth than anticipated. Sophie Mason played multiple roles, but her portrayal of Ms. Fleming was especially memorable. Her soulful gospel solo 'Shine a Light' was flawless in both vocal execution and stage presence (as expected), but also included some impromptu audience interaction and some awesome light-up prop books.   Of course, we couldn’t talk about this production without mentioning the ensemble. They brought the energy and urgency needed to keep this dark comedy rolling. Portrayed by Jackson Kellaway and Mackenzie Pratt, Kurt and Ram's fathers triumphed with 'My Dead Gay Son,' characterised by its prideful spirit and iconic mullet wigs. Everyone on stage had this palpable chemistry and enthusiasm that made me wish I could hop up there and join them. Under the musical guidance of Rachel Breeze, every number reached the highest standards of professionalism. Abby Cutlack’s choreography was the cherry on top, especially during 'Fight For Me'; a hilarious slow-motion scene as the three lead boys engage in a fight on stage, which not only elicited big laughs but also displayed unexpectedly graceful movements. The show’s climax was staged as well as they could have, with tension and adrenaline escalating through the fight choreography. It was the final group encore that left many of the actors visibly moved to tears.   While ' Heathers' touched on some dark and controversial topics—bullying, teen suicide, sexual assault—it managed to balance these moments of intense drama with just the right amount of humour. The cast’s ability to make even the darkest moments light-hearted was a testament to the strong direction from Riley Cope. The mix of comedy and tragedy was expertly executed, and by the time we reached the explosive finale, I was thinking how quickly we had reached that point!   From captivating choreography to show-stopping solos, this ' Heathers' production delivered on every front. The cast and crew should be incredibly proud of their work. As I overheard one audience member say while leaving the theatre, “It exceeded my expectations.” And honestly, it exceeded mine too. Photos by Brit Creative If any pronouns are incorrect, please message Stage Buzz Brisbane and I will correct it. Thank you.

Title:  Broadway Your Way 2025 Presented By:  Vox Theatre Arts Genre:  Musical Theatre Cabaret About: Inspired by a dream to break traditional casting barriers, Broadway Your Way  is a playful and comedic showcase that allows performers to take on roles from iconic Broadway musicals, regardless of gender, age, or background. With two short sets and a lineup of classic and modern hits, Broadway Your Way  is all about embracing authenticity, creativity, and endless fun on stage. Audition Submissions Due:  Sunday, 24 November 2024 (by Midnight) Audition Date: Tuesday, 26 November 2024, from 7 pm onwards (Alchemy Studios) Callback Date:  Thursday, 28 November 2024 (if necessary, at Alchemy Studios) Audition Registration: To audition, please fill out the form here . Audition Requirements: For Performers:  Prepare a 1-2 minute comedic musical theatre song or any musical theatre piece with a comedic twist. Bring your backing track on a Bluetooth-compatible device. For MCs:  Prepare a 1-minute comedy stand-up routine. No singing required. Introduction:  Present a short (up to 1 minute) comedic introduction to your chosen piece, ideally in a stand-up style. Callbacks (if required) will include theatre sports workshops, movement, and vocal part-singing. Available Roles: Broadway Your Way  seeks a versatile and diverse ensemble to bring iconic songs from musicals like Chicago , Waitress , Wicked , Sweeney Todd , Six , Something Rotten , and many others to life in new and original ways. This year’s vision invites a diverse group of 6–12 performers, alongside 1-2 MCs, with an emphasis on comedic timing and individuality. Key Dates: Rehearsal Commencement:  Sunday, 1 December 2024, 1 pm - 5 pm (Alchemy Studios) Promotional Photoshoot:  Sunday, 8 December 2024 (prior to rehearsal) Tech/Dress Rehearsal:  To be scheduled between Monday, 10 February and Thursday, 13 February 2025 Performance Dates: Friday, 14 February 2025 (Show 1) Saturday, 15 February 2025 (Show 2) Friday, 21 February 2025 (Show 3) Saturday, 22 February 2025 (Show 4) Rehearsals: Weekly rehearsals on Wednesdays (7 pm - 9 pm) and Sundays (1 pm - 5 pm). Not all cast members will be required for every rehearsal. Rehearsal locations include Alchemy Studios and possibly Lutwyche, Albion, Upper Mount Gravatt, or Toowong (specified in the rehearsal schedule). Warnings: Attendance at all tech and performance dates is mandatory for a high-quality production experience. Missing rehearsals may result in a recast role. Production Team: Director:  Jess Evans Assistant Director:  Constanza Acevedo Burckhardt Musical Director:  Mark Mirhan Choreographer:  Tayla Simpson Producer:  Hannah McNamara Stage Manager:  Angelina Mustafay Production Website:   voxtheatrearts.com Contact Email:   info@voxtheatrearts.com Instagram:   @voxtheatrearts Facebook:   Vox Theatre Arts

Title:  Popcorn Presented By:  Ipswich Little Theatre (ILT) Genre:  Satirical Comedy Thriller Synopsis: Set in the glamorous yet cutthroat world of Beverly Hills, Popcorn  by Ben Elton centres on Oscar-winning director Bruce Delamitri. The play unfolds in Bruce’s luxury home, where a romantic evening with actress and model Brooke Daniels is suddenly interrupted by Wayne and Scout, two notorious killers who demand more than just autographs. With Wayne fixated on using Bruce’s films to rationalise his own murderous spree, the night spirals further when Bruce’s estranged wife, his teenage daughter, and a sleazy producer all get dragged into the mayhem. In a sharp, darkly funny examination of celebrity culture and morality, Popcorn  is a high-stakes thriller that doesn’t hold back. Audition Date:  Monday, 11 November 2024, at 7:30 pm Audition Location and Address: Ipswich Little Theatre, 15 Burley Griffin Dr, Ipswich QLD 4305 Audition Registration: To register, complete the audition form on the ILT website here . Available Roles: Bruce  (30s+) – Self-indulgent director, hypocritical with a quiet arrogance. Farrah  (30s+) – Bruce’s bitter ex-wife, a former child star damaged by Hollywood. Wayne  (20s-30s) – Crass, psychotic murderer with a disturbing sense of honesty. Scout  (20s-30s) – Wayne’s partner in crime, dangerous yet damaged. Velvet  (Late teens) – Bruce and Farrah’s daughter, sarcastic but vulnerable. Brooke  (20s-40s) – Actress breaking away from her past image, bold and daring. Karl/Carly  (30s+) – Sleazy producer, does whatever it takes. Kirsten/Small Roles  – Various supporting roles. Rehearsal Dates: Rehearsals are primarily on weekday evenings with some weekends possible, depending on availability. Performance Dates:  26 February - 15 March 2025 Performance Location:  Ipswich Little Theatre Other Information: For perusal scripts and further details, contact director Aaron Evans at 0431 041 068 or via email. ILT encourages both experienced and first-time actors to audition. If unsuccessful in casting, participants may assist with backstage or front-of-house roles.

Title:   The Birthday Party Presented By:  Sunnybank Theatre Group Genre:  Modern Classic Drama Synopsis: Set in a rundown seaside guest house, the play revolves around Meg and Petey's single tenant, Stanley, an introverted man haunted by past secrets. When Goldberg and McCann arrive, their presence amplifies tension and menace, ultimately disrupting the feigned normality of Stanley’s birthday party. As the evening unfolds, each character's motives are revealed, leading to a suspenseful climax that questions reality and identity. Audition Date:  Sunday, 10 November 2024 Audition Time:  11 a.m. Audition Location and Address:  Sunnybank Theatre Group, Cnr Mains and Beenleigh Roads, Sunnybank QLD 4109 Callback Date and Time:  Monday, 11 November 2024, at 7 p.m. (if needed) Audition Requirements: Regional English accents required for most roles; Irish accent preferred for McCann. Actors should prepare to showcase characterisation that fits the eerie, suspenseful tone of the play. Registration is required to attend audition. Audition Registration:   Register Here Audition Pack:   Download Here Available Roles: Meg:  Elderly, dotty, attached to Stanley, oblivious to the impending danger. (Ideally 60s) Petey:  Stolid, working-class, loyal to Meg and his beliefs. (Ideally 60s) Stanley:  Troubled, paranoid, introverted. (Ideally 30s, age open to strong performance) Goldberg:  Manipulative, charming, intimidating. (30s-40s, open to age) McCann:  Goldberg’s accomplice, imposing, ideally with Irish accent. (30s, match for Goldberg) Lulu:  Youthful, attractive, flirty, and later regretful. (Ideally 20s) Performance Dates:  28 February – 16 March 2025 Performance Location:  Sunnybank Theatre Group, Sunnybank QLD Rehearsal Dates: Initial read-through and rehearsals in November and December 2024. Main rehearsals begin 5 January 2025, with sessions on Tuesdays, Thursdays, and Sundays. A final schedule will be confirmed with cast availability. Warnings:  Mature themes and intense character portrayals required. Production Website:   Sunnybank Theatre Group Auditions

Title:  Annie JR. Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre Synopsis: Set in 1930s New York City, the heartwarming tale of Annie follows a spirited young orphan determined to find her long-lost parents. Along the way, she charms her way into the hearts of many, eventually foiling the cruel Miss Hannigan’s plans and finding a new home with billionaire Oliver Warbucks, his secretary Grace Farrell, and a lovable dog named Sandy. Audition Date:  December 14, 2024 Audition Time:  1 – 4 pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Free parking available and wheelchair accessible. Audition Intensive: Date:  December 7, 2024 Time:  12 noon to 3 pm Location:  Emerge Church Upstairs Studio Cost:  $50 This workshop covers audition skills including monologue delivery, physicality, projection, accents, song presentation, and storytelling technique. Individual feedback will be provided to each participant. Audition Requirements: Open auditions are for anyone interested in lead or minor roles, featured dancer spots, or soloist performances. Everyone who auditions will be cast in the production. Actors must prepare a song, a dance, and a memorised monologue. Younger children may only need to memorise a few lines. Audition Registration:   Register for Auditions Audition Materials:   Download Here Performance Dates:  4th January 2025 Performance Location:  Emerge Church, Warner Rehearsal Dates:  December 30, 2024 – January 4, 2025 Rehearsal Times:  Monday to Friday, 8:30 am – 5:00 pm Production Website:   More Info

Title:  Night Must Fall Presented By:  Toowoomba Repertory Theatre Genre:  Classic Drama Synopsis: Written in 1935 by the famous English playwright Emlyn Williams, Night Must Fall  is a powerful drama that explores timeless themes of human weakness and the evil that can emerge from the human heart. The story's tension builds Hitchcockian-style, culminating in a thrilling denouement. The play follows the imperious Mrs. Bramson, who learns that her young maid Dora is pregnant and summons the presumed father, the charming but mysterious Dan. As suspicions arise regarding Dan’s intentions and a recent murder, the characters are drawn into a dangerous web of attraction and deception. Audition Date:  Sunday, 10th November 2024 Audition Time:  2:00 PM Audition Location and Address:  Toowoomba Repertory Theatre, 94 Margaret Street, Toowoomba Audition Requirements: Actors must demonstrate good diction, voice projection, and the ability to learn a part. English accents are needed. Audition pieces from the provided excerpts should be prepared; memorisation is not required. An additional audition piece may be brought if desired. Available Roles: Mrs. Terence:  The cook, mature to older middle age, providing comic relief. Hubert Laurie:  A middle-aged businessman, in love with Olivia but considered a bore. Dora Parkoe:  The young, pretty maid, insecure and spineless, responsible for Dan's arrival. Inspector Belsize:  A clever and inconspicuous Scotland Yard detective. The parts of Mrs. Bramson, Olivia, and Dan have been pre-cast. Audition Registration:  Email Mike Taylor at production@toowoombarep.com.au  for more information. Audition Pack:   Download Audition Pack Performance Dates:  18, 19, 20, 21, 22, 25, 26, 27, 28 February and 1 March 2025 Performance Location:  Toowoomba Repertory Theatre, 94 Margaret Street, Toowoomba Rehearsal Dates:  Commencing in December (schedule will be established based on cast availability) Rehearsal Times:  Likely one weekend day and one or two nights during the week. Production Website:   Toowoomba Repertory Theatre

Title : Macbeth Presented By: North Brisbane Theatre Company and Outdoor Theatre Community Genre : Tragedy / Shakespearean Drama Synopsis : In William Shakespeare's Macbeth, a prophecy foretells Macbeth’s rise to the throne of Scotland, setting him on a dark path of ambition, murder, and madness. As he grapples with his moral decay, his wife, Lady Macbeth, spurs him on—until she too is consumed by the horrors they have unleashed. Directed By: Lachlan Boyes Audition Date: Saturday, 18th January 2025 Audition Time: 1:00 pm - 3:00 pm Audition Location and Address : Dragonfly Park, Warner Audition Requirements: Monologue: Prepare a 1-2 minute monologue that captures the essence of the character you wish to portray. The monologue does NOT need to be in Shakespearean language. Cold Reads: The audition will also include cold readings from the script. Dress Comfortably: Please wear comfortable clothing suitable for movement and outdoor auditions. Additional Items: Bring a water bottle and a hat, as the audition is outdoors. Audition Registration: Please fill out the Audition EOI Form  to express your interest. Available Roles: Macbeth Lady Macbeth Witch Banquo King Duncan Macduff Malcolm Hecate Fleance Lennox Ross Ruffian Porter Lady Macduff Donalbain Note : All roles are open to actors of any gender. Performance Dates: 4th April 2025: 7:30 pm 5th April 2025: 7:30 pm 6th April 2025: 6:30 pm 11th April 2025: 7:30 pm 12th April 2025: 7:30 pm 13th April 2025: 6:30 pm Performance and Rehearsal Location: Dragonfly Park, Warner

Title : Checkmate Presented By: Tugun Theatre Company Genre: Thriller Synopsis: A gripping thriller written by Leslie Sands, Checkmate unfolds a suspenseful narrative where secrets, deception, and danger intersect in a mysterious tale that will keep the audience guessing until the end. Audition Date: Monday, 18th November 2024 Audition Time: 6:45 pm for a 7:00 pm start Audition Location and Address: Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Audition Requirements: Cold Read: Auditions will involve a cold read, with audition pieces provided at 6:45 pm. Skills Needed: Strong acting skills with good line retention are essential for all roles. Available Roles: Peter Conway (Lead):  A washed-up TV star from a cancelled detective series. Needs to convey a weary, jaded personality. Age Range: 40s to 50s Accent: Standard English Stella Conway (Lead):  Peter's long-suffering wife, who navigates the challenges of her marriage and Peter’s waning career. Age Range: Late 30s to late 40s Accent: Standard English Detective Sergeant Drummond (2nd Male Lead):  The investigating officer, professional and inquisitive. Age Range: Late 30s and up Accent: Standard or regional English Lori Nilsson (Support):  A glamorous ex-model and Peter Conway's current mistress, exuding charisma and allure. Age Range: Late 20s to late 30s Accent: Standard American (not Southern) Richard Shaw (Support):  Peter's agent, who harbours feelings for Stella. Should portray a subtle sense of unrequited affection. Age Range: 40s to 50s Accent: Standard English Audition Registration: Email enquiries to tuguntheatrecompany1@gmail.com  to express interest and receive further information. Performance Dates: 7th February to 1st March 2025 Production Website: Tugun Theatre Company Audition Information