Octopolis – Observatory Theatre Presented at:  PIP Theatre Written by:  Marek Horn Directed by:  Bronwyn Nayler In Octopolis , the complexities of human communication and the curiosities of animal consciousness swam in a sea of intellect, grief, and philosophical exploration. Brought to life by the daring team at Observatory Theatre, this production made its Australian independent debut with two actors and one deeply enigmatic octopus. The story follows George, a disheveled, chaotic professor grieving her dearly departed husband while cohabitating with Frances, the octopus in question. Enter Harry, an anthropologist with grand theories and a curiosity that just won't quit. The dynamic between George and Harry quickly becomes electric, marked by academic sparring, emotional deflection, and the (not actually present) presence of Frances, who camouflages herself in her tank, silently observing them. The set was deliberately stark: a large carpeted area scattered with endless papers, no props beyond what was mimed, and a glowing blue rectangle of light representing Frances’ tank. Projections helped guide the story, displaying both visuals and text, including bursts of scientific terminology. The lighting was elegant and moody, with gentle fog adding to the ambiance. A subtle soundscape brought in oceanic textures, and a bit of Bowie (because apparently Bowie is having a theatrical renaissance lately?). Caroline Sparrow as George was an absolute force. From drunk ramblings to intellectual tirades to moments of devastating vulnerability, she commanded the space with emotional depth and fearless authenticity. She was messy, brilliant, guarded, insecure yet confident—a whirlwind of contradiction. There was something fascinating in the way she raged, not with aggression, but with articulate intellectual fury, only to crumble into one of the production’s most moving monologues about loss, connection, and the unknowable. Dudley Powell played Harry with precision and subtlety, serving as a counterbalance to George's disorder. He was blunt and grounded, but cracked open as the play progressed, particularly in a poignant monologue of his own towards the end. Dudley and Caroline's scenes together were like a dance—sometimes literal, often verbal, and always layered. And then there was Frances. Not a puppet or a person, but an unseen presence, projected in both imagery and metaphor. The actors' interactions with her—how they talked to her, responded to her, observed her—fed into the underlying tension of the play. The octopus became a mirror, a confidante, an emotional support creature, and ultimately a symbol of everything that was mysterious, beautiful, and simply beyond human comprehension. Movement and intimacy coach Sherri Smith’s work shone in the moments when physicality became the primary language. Scenes mimicking underwater fluidity were mesmerising and dreamlike. Lighting and video design by Teddy Waddingham transformed simple visuals into rich symbolism, and Lachlan Driscoll’s sound design anchored the world in place. Through Bronwyn Nayler's direction, every element worked together to create a world that was simultaneously sparse and dense. This wasn’t a light or easy piece—it was a brain-twister that demanded your full attention, especially when it dove into the deep end with philosophy, psychology, or science. The timeline jumped, but the actors provided narration. The debates about science, God, consciousness, and love didn’t shy away from complexity, but for those who enjoy cerebral theatre that also packs an emotional punch, this was a rare gem. While the runtime may have stretched a touch long (mainly from the extended movement sequences), it was a minor quibble in an otherwise thought-provoking, boldly staged piece. By the end, the audience was left pondering not only the mysteries of octopuses but the even deeper, messier complexities of being human. Octopolis  was a beautifully intellectual and emotionally stirring production. With articulate performances, sleek design, and a script that challenged both cast and audience, this show offered a deep dive into connection, sentience, and the quiet power of observation. Cast: George – Caroline Sparrow Harry – Dudley Powell Frances the Octopus – Use your imagination Cast: George – Caroline Sparrow Harry – Dudley Powell Frances the Octopus – Non Existent Creative Team: Playwright: Marek Horn Director: Bronwyn Nayler Dramaturg: Lachlan Driscoll Movement & Intimacy Coach: Sherri Smith Choreographer: Sherri Smith Lighting & Video Designer: Teddy Waddingham Sound Designer: Lachlan Driscoll Stage Manager: Libby Harrison Lighting Operators: Hannah Page and Imogen Meehan Photography by Geoff Lawrence - Creative Futures Photography

Living the Love Story: Baritone Jake Lyle on Voxalis Opera’s A Woman’s Love and Life Brisbane’s vibrant arts scene is buzzing with anticipation as Voxalis Opera returns to the 4MBS Festival of Classics with one of its most beloved productions— A Woman’s Love and Life , a masterfully reimagined rendition of Schumann’s Frauenliebe und Leben . Taking place Saturday 7th June, 2025 at St Andrew’s Uniting Church, the performance blends German art song with poignant theatrical storytelling, and brought to life by an exceptional cast of local artists. A cornerstone of Voxalis Opera’s repertoire, A Woman’s Love and Life  breathes new emotion and nuance into Schumann’s classic song cycle in a beautifully staged 60-minute performance. The audience is invited to journey through the arc of a woman’s life in love—from the electric thrill of meeting her soulmate, to the joy of marriage and motherhood, and finally, the aching grief of loss. Mezzo-soprano Cassandra Seidemann leads the cast as Schumann’s protagonist, reflecting on her life and enduring love. Among the cast is baritone Jake Lyle, whose powerful voice and magnetic stage presence have made him a rising star across Queensland. I caught up with Jake ahead of the show to chat about his artistic journey, the unique approach behind this performance, and why Brisbane’s opera scene deserves the spotlight.   “I never saw myself doing anything other than performing and telling stories.” For Jake, the path to opera began in a more unexpected way: Shrek the Musical in his hometown of Gladstone. “That was the gateway,” he laughs. “I’d always loved performing—my brother Lachie and I used to stage plays in our loungeroom. But it was seeing Alfie Boe in the 25th anniversary concert of Les Misérables  that lit the spark.” He remembers, “I asked Mum if we could go to Sanity in Gladstone to pick up musical CDs— Phantom of the Opera , Les Mis , and the original West Side Story film soundtrack were the first ones I got.” Jake’s bold voice was always part of him, though not always appreciated in school. “My primary school teachers didn’t always love my loud voice,” he jokes. “But once I started proper singing lessons, I found myself naturally drawn to a more ‘legit’ sound, and that path eventually led me to the Queensland Conservatorium. I am so grateful for the incredible mentors I’ve had along the way. These people know who they are and I could not be where I am now, chasing this career, without the constant support they continue to give me.”   A New Lens on Love Though Jake does not sing any of the original Frauenliebe und Leben  songs, his role is essential to this reimagined version. “Instead, I perform other pieces which have been added to enrich the storytelling. Camilo Lopez, our director, has reimagined the cycle by weaving in these extra songs to add dimension and emotional context. So for me, it’s about stepping into the memories and emotional world of the main character—adding colour, tension, and tenderness to the moments she’s reflecting on.” Jake hopes audiences walk away emotionally stirred: “The show touches on so many parts of love—joy, intimacy, heartbreak—and I think there’s something in it that almost everyone can relate to. Even though it’s based on one woman’s story, this version opens it up in a way that feels really universal. If someone leaves the performance thinking about someone they’ve loved—or even just feeling a little more connected to themselves—that’s the best outcome we could ask for.”   Voxalis Opera: Elevating Local Voices With its innovative productions and artist-forward ethos, Voxalis Opera has quickly become a cornerstone of Brisbane’s classical scene—and a deeply meaningful company for Jake: “What I love about Voxalis is their mission to support emerging artists and reimagine how opera is presented. You’re not just learning the music—you’re collaborating, storytelling, and creating something meaningful with your peers and mentors.” Performed with English surtitles and accompanied by the brilliant pianist Sarka Budinska, the recital is anchored by mezzo-soprano Cassandra Seidemann in the central role. Alongside her, Rebecca Goobanko and Jake bring to life the figures who populate the woman’s most significant memories. “Working with people like Cassandra and Rebecca—who are both incredibly talented and professional—has been such a privilege." He adds, “That kind of mentorship and collaboration is rare, and really valuable. Being part of something this innovative has been creatively fulfilling—it’s pushed all of us to think differently and work as a true ensemble.” From Recital to Theatre Voxalis first premiered A Woman’s Love and Life in 2023 to critical acclaim, praised for its elegant staging and emotional weight. But make no mistake—this is not your standard lieder recital. “This semi-staged approach makes the whole thing feel way more theatrical, which changes everything about how we perform the songs,” Jake explains. He continues, “It’s not just about singing the notes perfectly—it’s about really living the emotions and drama behind them. Honestly, it’s a pleasure to perform like this because it lets me connect with the music and the story on a much deeper level—and I think that makes it more real for the audience too.”   A Love Letter to Brisbane’s Arts Scene Jake is passionate not only about the work but also about the city that has shaped his blossoming career: “What really stands out about Brisbane’s arts scene is the passion that drives it. No matter the scale or style, the artists, performers, and creatives here genuinely care about their work and the community they’re part of. That passion creates a strong sense of connection and support—people truly lift each other up and work together to help the arts thrive.” He adds, “There’s also incredible diversity across the scene. From opera and classical music to theatre, live music, and experimental projects, there’s always something happening. It’s a vibrant, evolving community where you can discover fresh and exciting work if you take the time to explore.” ( Wink wink... Go check out Stage Buzz Brisbane  for the hundreds of productions happening this year! ) Jake credits that same spirit as one of the driving forces behind Voxalis’ innovative success. “It’s not just about preserving tradition, but making opera feel relevant and accessible to people here in Brisbane. Being part of that effort feels important because it helps open doors for local talent and invites more people to experience this incredible art form.” So, What’s Next? While Jake is keeping busy with multiple upcoming projects , he has a few dream roles in mind: “Papageno, Figaro, Marcello and Billy Budd,” he shares. “Way down the line, dream roles would be Don Giovanni and Rigoletto—those are huge roles that I’d love to grow into with time and experience.” He’s also got musical theatre dreams: “I’ve always wanted to take on Phantom, Javert, and Don Quixote. I’ve had the chance to play Raoul already… and I’d love to revisit that again.” But for now, all eyes are on A Woman’s Love and Life —a delicate, heartfelt meditation on love, memory, and the loss. (Side note: I saw Jake perform in Spamalot  with Paterson Productions and he was absolutely phenomenal. It’s honestly still one of my favourite community musicals I’ve seen in Brisbane. I went twice!)   Don’t Miss Out: A Woman’s Love and Life Presented by Voxalis Opera Part of the 2025 4MBS Festival of Classics 🗓 Saturday 7 June, 7:30pm 📍 St Andrew’s Uniting Church, 299 Ann St, Brisbane City 🎟 Tickets from $35–$60 | Book Now

Title: MILF The Musical Presented By: Madison Avenue Productions (Formerly Coastal Theatre Collective) Genre: Contemporary Musical Comedy Synopsis: MILF The Musical follows Kate, a fabulous fashion influencer and proud MILF, as she navigates the chaotic terrain of motherhood, marriage, and modern fame. With help (and chaos) from her ride-or-die besties and her recklessly unfiltered sister, Kate battles burnout, public scrutiny, and inner doubt to redefine her identity. Full of bold humour, heartwarming moments, and high-energy musical numbers, this cheeky new Australian premiere celebrates fierce femininity, friendship, and the messy beauty of growing up (again) after 40. Audition Dates: Day 1 (General Auditions): Saturday, June 21st – Individual singing auditions by appointment Day 2 (Callbacks): Sunday, June 22nd – Scene work and additional vocals Audition Location and Address: Specific venue confirmed via email upon audition registration Audition Self-Tape Due (if applicable): Interstate applicants welcome — please indicate in the registration form if you are submitting a self-tape. Audition Registration: Complete the online registration form at: https://www.madisonavenueproductions.org/auditions Submissions close 6:00pm, Tuesday June 18. Successful auditionees will be contacted by June 19th. Audition Requirements: Headshot (JPEG or PDF) and Performance CV Prepare two contrasting contemporary musical theatre songs (1 up-tempo and 1 ballad). Please bring a backing track. You may be asked to read or sing from the show at callbacks. Performance Dates: Thursday 12th – Saturday 14th December, 2025 Performance Location: The Playhouse, The Events Centre, Sunshine Coast Rehearsal Dates: Begin: Three weeks before tech week Schedule: Monday, Wednesday, Friday – 6:00pm to 10:00pm Sundays – 10:00am to 4:00pm Tech Week: December 9–11 Warnings: Themes include adult humour, drag performance, sexuality, and mature content Required Age: 18+ Other information: This is a paid production – $1000 per performer, inclusive of rehearsals, performances, and promotional commitments. Madison Avenue Productions proudly welcomes auditionees of all gender identities, body types, cultural backgrounds, and experience levels. Interstate performers are welcome to apply but must cover their own costs and be QLD-based during the production period. Available Roles: Kate (Female, early–mid 40s): A vivacious fashion influencer and the show’s central MILF. Bold, confident, but juggling the weight of motherhood and social pressures. Strong vocals and acting, dance a plus. Cleo (Female, mid–late 30s): Kate’s younger sister. Glamorous, chaotic, recently dumped. Strong singer and dancer. Jason (Male, early–mid 40s): Kate’s husband, an advertising exec. Loving but increasingly disconnected. Strong acting and vocal skills. Frankie (Mid-40s, any gender): A drag queen, nightclub owner, and Kate’s best friend. Hilarious, fabulous, and heart-filled. Big voice, big personality. Stardust (Late 20s–early 30s, any gender): Frankie’s drag offsider. Young, ambitious, a little naïve. Strong singing/dancing ability. Female Ensemble/Banjo (20s–30s, female): Versatile performer and strong mover. Plays Banjo, Cleo’s love interest – a charming and spirited waitress. Male Ensemble (Mid-20s, male): Strong dancer and singer, plays multiple ensemble roles throughout the show.

Title: The Lightning Thief: The Percy Jackson Musical Presented By: Hanson Creative Genre: Musical Theatre / Dramatic Comedy / Fantasy Adventure Synopsis: Percy Jackson is about to be kicked out of boarding school… again. But this time, it’s not just school trouble—mythological monsters are suddenly very real, and he’s just discovered he’s the son of Poseidon. When Zeus’s master lightning bolt is stolen, Percy finds himself accused and thrust into a wild, monster-filled quest across America to retrieve it and stop a war among the gods. With the help of his new friends Annabeth and Grover, Percy must unravel a divine mystery, face down ancient foes, come to terms with his past, and discover the hero that lies within. Based on the best-selling book series by Rick Riordan, The Lightning Thief is a high-energy musical filled with humour, heart, and heroic quests—perfect for performers and audiences of all ages. Audition Dates: Friday 11 July 2025 (individual auditions) Saturday 12 July 2025 (individual auditions + compulsory group dance call at 4:00pm) Audition Times: Individual times between 11:00am – 4:00pm Dance Call: 4:00pm – 5:00pm Saturday 12 July Audition Location and Address: Backbone, 28 Tallowwood St, Seven Hills QLD Audition Deadline: Applications close at 11:59PM on Wednesday 9 July 2025 Audition Requirements: Prepare two contrasting songs (up to 1 minute each) One must showcase comedic ability At least one should be in a contemporary musical theatre style Bring a backing track on a Bluetooth or AUX-compatible device Perform a cold read (script provided on the day) Bring a printed CV and headshot Prepare and present one monologue from the provided material (does not need to match your chosen character) Attend the mandatory dance call (group choreography video available here) Wear dance-appropriate attire and shoes (sneakers or jazz shoes) Audition Registration: Register for an audition slot here Audition Pack: View/download the audition pack here Audition Materials: View here Performance Dates: Thursday 23 October 2025 – 7:00pm Friday 24 October 2025 – 1:00pm & 7:00pm Saturday 25 October 2025 – 1:00pm & 7:00pm Sunday 26 October 2025 – 1:00pm Performance Location: BackDock Arts, 103 Brunswick Street, Fortitude Valley QLD 4006 Rehearsal Dates: Table Read: Monday 14 July 2025 Rehearsals: Mondays & Thursdays, 4:00pm – 9:00pm, from 14 July – 20 October Sitzprobe: 29 September Bump-In: 21 October Tech Rehearsal: 22 October Dress Rehearsal: 23 October (day) Warnings: Some themes of violence, mythical monsters, and mild language Action/movement-heavy roles Required Age: Open to 16+ Creative Team: Director: Emma Hanson Musical Director: Hayley Walsh Choreographer: Anna Ryan Production Website: emmaelizabethhanson.wordpress.com Other Information: Pay Rate: All cast will receive a $300 flat fee for the production This production is committed to inclusive casting. Performers of all cultural backgrounds, abilities, body types, gender identities, and lived experiences are strongly encouraged to audition. Some portions of the audition may be filmed for internal casting use and potential marketing. Participation indicates consent. Available Roles: Percy Jackson – Male presenting (F3–Ab4) Hot-headed, brave, sarcastic, and loyal. A demigod son of Poseidon thrown into a hero’s journey. Annabeth – Female presenting (Ab3–F#5) Smart, strong-willed, and confident. Daughter of Athena with sharp intellect and warrior instincts. Grover / Mr. D – Male presenting (E3–G4) A gentle satyr and Percy’s goofy best friend, also plays Dionysus, the wine-loving, sarcastic camp director. Luke / Gabe / Ares / Mozart – Male presenting (Baritone–Tenor) Versatile role covering the charming yet conflicted Luke (son of Hermes), Percy’s horrible stepdad Gabe, Ares the Rock Star God of War, and other bold characters. Sally Jackson / Ensemble Track – Female presenting (A3–E5) Percy’s caring mum and various mythological women including The Oracle and Echidna. Chiron / Poseidon / Hades / Kronos / Cobain / Cyclops – Male presenting (Baritone–Tenor) A mentor figure, mythic gods, and a range of bold and quirky male-presenting roles. Clarisse / Medusa / Mrs. Dodds / Katie / Thalia / Ensemble – Female presenting (Mezzo-Soprano–Soprano) Fierce and comedic, these roles require strong characterisation, physicality, and versatility.

Title: A Doll’s House Presented By: Mercury Theatre Wynnum Genre: Drama / Classic Theatre Synopsis: Henrik Ibsen’s A Doll’s House is a groundbreaking 19th-century play that still resonates today. Set in a Norwegian town, it follows Nora Helmer as she begins to question her seemingly perfect life, challenging traditional gender roles, marriage expectations, and personal identity. This new production will present the classic text through a fresh, modern lens under the direction of Sophie Parker. Audition Date: Saturday 28 June 2025 Audition Time: 1:30pm – 3:30pm Audition Location and Address: Wynnum Library, 145 Florence Street, Wynnum QLD Audition Requirements: Pre-registration is essential by 27 June – no walk-ins will be accepted. Cold readings from the script; prepared monologues welcome but not required. Bring a completed audition registration form and colour headshot (10x15cm minimum), or upload in advance via the online form. Audition Registration:Audition Registration Form Audition Pack: Download Audition Pack Available Roles: Please note: Stage ages are flexible and casting is based on suitability and enthusiasm. Nora (F, 20–30): The emotional centre of the play; intelligent, resourceful, and quietly rebellious. Torvald Helmer (M, 30s–40s): Nora’s husband; confident, image-focused, and condescending. Kristine Linde (F, 30s–40s): Nora’s practical childhood friend; grounded and mature. Nils Krogstad (M, 30s–50s): Initially seen as a villain; later revealed as deeply human and remorseful. Dr Rank (M, open to F, 40s): Witty, terminally ill friend of the Helmers, in love with Nora. Helen (F, 50s+): Loyal maid/nurse; represents working-class women and unseen emotional labour. Performance Dates: 15–16 November 2025 22–23 November 2025 29–30 November 2025 Performance Location: Manly-Lota RSL, 184 Melville Terrace, Manly QLD Rehearsal Dates: Table Reads: 21 July, 28 July, 4 August (Mondays) Rehearsals: Every Monday & Thursday, 7:00pm – 9:00pm, from 4 August 2025 Crew: Interested participants may also volunteer for roles in: Props, Costume & Makeup Set Design, Lighting & Sound Stage Management & Crew Front of House Photography, Videography & Marketing Production Website: www.mercurytheatrewynnum.com.au/auditions Other information: This is a volunteer-based amateur production. Cast must become financial members of the company ($10 per year) if accepted. You’ll be notified of casting outcomes by email or phone on or before 5 July 2025.

The Campaign  by Campion Decent Presented by Underground Theatre Company Synopsis In 1988, more than one hundred people were arrested at Salamanca Market in Hobart. This happened when the Tasmanian Gay Law Reform Group resisted a prohibition on their stall, which advocating the decriminalisation of homosexuality. This led to a lengthy, difficult, and courageous struggle to repeal a law regarded the harshest of its kind in the Western world—and the last of its kind in Australia. Drawing from firsthand testimonies, parliamentary records, and media from the time, Campion Decent’s The Campaign  traces Tasmania’s path from criminalisation and discrimination to eventual legal reform and acceptance. Told through a verbatim lens, it is a moving and fiercely important piece of theatre. Before the show even began, the message was clear. “I’m Coming Out” blared from the speakers as actors mingled onstage, while the back wall—covered in butcher’s paper—was gradually splashed with slogans and time stamps in rainbow paint. Performed by five actors in uniform white shirts and black pants, The Campaign  unfolded as a powerful ensemble piece, weaving together dozens of real voices, experiences, and memories from those at the heart of the Tasmanian gay law reform movement. Narrated collectively, it told a story of protest, perseverance, pain, and power. Cullyn Beckton gave a grounded and honest portrayal as Rodney Croome, who was raised in a conservative household and driven to become one of the state’s most passionate advocates for change. Cullyn captured both Rodney’s vulnerability and growing conviction as an activist. Their courtroom and media scenes were especially impactful, resonating with genuine emotion. Lachlan Williamson, Abigail Thomas, Holly Lightbody, and India Johnson demonstrated exceptional versatility and authenticity in their various roles—from passionate campaigners to prejudiced politicians, grieving friends to hesitant family members. They managed an immense amount of dialogue, rapid character shifts, and intense emotional whiplash with clarity and unity. Pre-recorded video interviews were used sparingly but to powerful effect, grounding the narrative in real-life experience. Reflections from time in their jail cells were especially affecting. Throughout the performance, there were frequent moments of audience discomfort—not because of the production itself, but from the painfully accurate reenactments of anti-gay speeches, misinformation, and hate speech that once aired freely in public forums. Watching the actors embody these voices of cruelty and ignorance prompted audible groans and scoffs. It was a crucial reminder that this wasn’t ancient history in our country. It was the 1980s and '90s, a period still within living memory for many. The play shone a spotlight on the glacial pace and injustice of the journey toward equality in Tasmania—where the punishment for gay sex was as severe as 21 years in prison At the time, that was longer than the sentence for rape or armed robbery. It's unthinkable now. And yet, it was reality then. While the production leaned heavily into dialogue over visual storytelling—and some character shifts weren’t always clear without costume or prop indicators—the cast managed to maintain narrative clarity. Dakota Ehrlich’s minimalist set and Helen Butler’s stark lighting design kept the focus firmly on the words and the people speaking them. Despite the heavy subject matter, there were moments of levity—some unexpected, some musical, some strangely delightful, which offered necessary breaths between the weightier scenes. There was real beauty in the portrayals of queer community, chosen family, and the quiet, enduring reality that many face: “we never stop coming out." This production was an education. For younger audience members it offered a vital insight into a chapter of Australian queer history that too few are taught. For older folk, it may have served as a reckoning or a reminder of how far we’ve come, and the sacrifices involved. And it was timely. With trans rights still under attack and the embers of hate being reignited in public discourse, The Campaign  served as a sobering reminder that progress is never guaranteed. That equality is hard-won. And that human rights are fragile, always requiring protection, vigilance, and collective action. A standing ovation felt almost inadequate for a story of this magnitude. The Campaign  provoked, educated, and empowered viewers. It honoured those who fought for justice and reminded us all that the fight is far from over. Because, as this powerful piece made heartbreakingly clear, progress only happens when people actively campaign for it. Cast: Cullyn Beckton Lachlan Williamson Abigail Thomas Holly Lightbody India Johnson Creative Team: Director:  Lachlan Boyes Assistant Director:  Jai Bofinger Stage Manager:  Gigi McLaren Assistant Stage Manager:  Janae Smith Production Designer:  Dakota Ehrlich Lighting Designer:  Helen Butler Sound & Video Designer:  Ned Lane Production Assistant:  Sasha Brewin-Brown Warnings:  Contains strong coarse language, hate speech, adult themes including homophobia, HIV/AIDS crisis, mental health and suicide. Themes of trauma and discrimination.

Pramkicker  by Sadie Hasler Presented by MO Theatre and Door 3 Queensland Theatre Hilarious, heartbreaking, hot pink, high-octane feminism. With teeth. Synopsis What happens when we want more—or less—than what the world expects? Well, as Jude and Susie learn, everyone has an opinion. Especially the ones who shouldn’t. Jude has always known she doesn’t want kids. Susie isn’t so sure. One day, surrounded by a sea of ‘yummy mummies’ in a café, Jude snaps—she kicks a pram down a flight of stairs (don’t worry, no baby involved), gets arrested, and ends up in court-ordered anger management. Susie tags along for moral support... and maybe to confess a secret of her own. Sadie Hasler’s Pramkicker  is a fierce, funny, and unfiltered exploration of womanhood, sisterhood, and the societal expectations placed on anyone with a uterus. Directed by Amy Ingram and Nerida Matthaei, this punchy, provocative, expletive-laced rally cry is for every woman who’s ever felt judged for not ticking the boxes of marriage and motherhood. It tears into the exhausting, generational conversation around what makes a woman “worthy”, especially outside the traditional pathways. First Impressions When you walk into the Diane Cilento Studio (Door 3), you don’t just take your seat. You enter a world. A school hall bulletin board, a line-up of abandoned prams, and a table offering cordial and biccies scream “primary school nostalgia.” Unless, of course, you’re a parent, in which case it might just feel like a Tuesday. The immersive setup pulls the audience in immediately. We’re guided into a makeshift classroom by the voiceover of a “group leader,” while onstage, Jude—snarky and aloof—and Susie—frantic and friendly—are already there, checking name tags and dodging the “wet paint” sign as if we’re all members of the same anger management group. And for the next 75 minutes, we are. Performances Sarah Ann McLeod is formidable as Jude, fiercely clinging to her autonomy and unafraid to kick a metaphorical (or literal) pram to protect it. She’s dry, biting, and brimming with repressed rage that’s all too familiar to many child-free women. Her monologues on motherhood, worth, and invisible womanhood are searing and delivered with razor-sharp honesty. This isn’t just theatre for me. It’s catharsis. Sarah Ogden, as Susie, is the perfect chaotic foil: bubbly, a little too accommodating, and carrying a truth she’s afraid to share. Her performance is a shape-shifting masterclass. Not only is she deeply believable as Susie, she also morphs into a gallery of side characters: a bougie British woman ranting about her trash husband, the snob café mum, a sleazy bogan bloke, a Ken-doll ex-boyfriend named Jason, an LA valley girl called Marcy... Every voice, posture, and facial expression lands. Honestly… what can’t  this Sarah do? Direction & Design The direction is bold and brilliantly paced. Pramkicker  never drags. Every beat is intentional. The sound design by Brady Watkins and lighting by Christine Felmingham elevate the piece, especially the vivid green spotlight monologues and the sardonic voiceovers that veer between absurd and oddly profound (“How do I feel about my period...? I LOVE IT!”). Ada Lukin’s set design nails that lo-fi school assembly vibe: mismatched, duct-taped chairs, a “Stay Cool” baby poster à la Banksy, and layers of DIY that ground the show in something instantly recognisable. Emotional Impact Beneath all the f-bombs and sarcasm lies something raw and real: this is ultimately a story about sisters. About how the same upbringing can yield wildly different paths. About the debt we owe each other—and ourselves—when it comes to honesty and choice. We uncover the 8-year age gap between Jude and Susie and the long-avoided truths. They bicker, they bond, they laugh and break down, sitting side by side in lawn chairs with full Kath & Kim  energy, drink in hand. There’s a plot twist I won’t spoil—but when it lands, it hits hard. And just when you think the show has made its point, it turns the mirror back on you and asks: What societal bullshit have you been putting up with? As a proud, single, child-free woman surrounded by engagements, weddings, pregnancies, and playdates, this show struck a deeply personal chord. It gave voice to the quiet rage of feeling like you “don’t count” without a wedding ring or a baby bump. That rage of being pitied, judged, or dismissed? That’s not fiction. And this show dared to scream back: I am enough. And then there’s Susie, aching with the pressure of choosing the “right” path. Her monologue about motherhood, and the quote that stuck with me—“When does all the knowing start?”—was gutting. Final Thoughts And yet, through the anger and the ache, the show never loses its humour. We wheezed with laughter. There were groans of recognition from women all around me. The Brisbane references landed like little in-jokes for the whole audience. The slow-mo flashbacks (especially Jude’s pram-kick brawl) were downright side-splitting. And by the end, you might want to hug your sister, yell into a pillow, or go full Jude and kick a pram. It’s the kind of show that lodges itself in your bones. That shakes you up. That lets you grieve and laugh at once. I highly recommend seeing it. Especially if you're angry. Or confused. Or just tired of being told what your life should look like. CREATIVE TEAM Directed by:  Amy Ingram & Nerida Matthaei Choreography by:  Nerida Matthaei Set & Costumes by:  Ada Lukin Lighting Design:  Christine Felmingham Sound Design:  Brady Watkins Stage Management:  Lucy Kelland & Thea Raveneau SHOW DETAILS Duration:  75 minutes (no interval) Recommended Age:  15+ Warnings:  Contains haze, flashing lights, strong coarse language, and adult themes including sexual assault, pregnancy, abortion, and drug/alcohol use. Tickets : https://queenslandtheatre.com.au/plays/pramkicker Photography by Morgan Roberts

"If you put an album on of hers, you do not hear her age. You only hear amazing musicality. And you're drawn in." - Amy Lehpamer as Dusty Springfield “Whether you know who Dusty was or not, you’ll leave this show knowing her — and loving her.” - Director Jason Langley Dusty The Musical – In Concert  is set to dazzle Brisbane audiences when it takes over the QPAC Concert Hall from 5–8 June 2025. Presented by Prospero Arts , this semi-staged celebration brings to life the remarkable story of Dusty Springfield — a pop icon whose voice, style, and spirit helped define a generation. From her early beginnings as Mary O’Brien to her meteoric rise as an international star, Dusty’s story is one of grit, glamour, and unforgettable music. Featuring beloved hits like “Son of a Preacher Man” , “The Look of Love” , and “You Don’t Have to Say You Love Me” , the show promises a soul-stirring journey through the swingin’ sixties to the nineties, backed by a live onstage band conducted by Brendan Murtagh with musical supervision by David Young . Taking centre stage is the incredible Amy Lehpamer , returning to the role of Dusty. She’s joined by director Jason Langley  and choreographer Michael Ralph , reuniting the dream team behind the acclaimed 2016 Melbourne production.   I had the absolute pleasure of sitting down with Amy Lehpamer and Jason Langley to chat about what it’s like to step into the world of Dusty, why this music still resonates so deeply, and the magic that’s in store for Brisbane audiences.   A Legend Reborn “Dusty really was a woman that defined pop music,” says lead performer Amy Lehpamer, returning to the role after nearly a decade. Amy admits, returning to this role after nearly 10 years — now as a mother and a married woman — gave her a new perspective. “It’s like my body remembers it, but my brain is catching up. I’m finding new things about Dusty. It’s more than muscle memory, it’s like returning to an old friend with a new lens. But there’s a different maturity now. Some scenes hit completely differently.” “She led with her heart. Her artistry, her creativity, and her joy for performing were unmatched — but offstage, her life was filled with complexity, contradictions, and struggle.” In rehearsal, Amy captures that duality with devastating clarity. I was lucky enough to witness two musical numbers — " You Don’t Have to Say You Love Me"  and " Dancing in the Street"  — and both gave me chills. The first was filled with anguish, Amy’s bright vocals swelling with heartbreak, her facial expressions flickering with Dusty's inner turmoil. The second was a high-energy, choreographed celebration of Dusty's connection to the Motown scene, featuring classic doo-wop backing vocals and a bursting sense of joy from the entire cast. The harmonies popped, the choreography was clean and sharp, and the ensemble exuded the tight-knit chemistry of a well-oiled machine. And what a cast. “They’re phenomenal,” Amy beams. “I’m so inspired by them.”   A Visual and Musical Feast Directed by Jason Langley, who also helmed the 2016 revival, this Brisbane debut of Dusty – The Concert  isn’t just a rehash of what came before — it’s an evolution. “The original version of the show has changed a lot,” Jason shares. “We’ve refined it, reimagined it, and now we get to bring it to Brisbane for the very first time.” He’s not exaggerating when he says this is more than a concert. With over 80 wigs, five LED screens, and AV animations by Craig Wilkinson, the show spans five decades of fashion and music, taking audiences from the 1950s all the way to Dusty's final year in 1999. “Dusty was a fashion trailblazer as much as a musical one,” Jason says. “And the design celebrates that. You’ll see most of her iconic looks, set against a huge catalogue of her music performed live on stage by nine top-tier Brisbane musicians.”   More Than Just the Hits While the show features unforgettable songs like I Only Want to Be with You , I Close My Eyes and Count to Ten , and Middle of Nowhere  (a personal favourite of both Amy and Jason), it's the story that elevates this performance from tribute to theatre. “Dusty was dictatorial in the studio — she knew what she wanted and she made it happen. She was a perfectionist, a visionary, and completely singular in her sound.”   Amy shares the stage with Nikola Gucciardo portraying a young Mary O’Brien (Dusty’s birth name), whose presence haunts the story like a memory made flesh. This dual-performance structure gives audiences rare insight into the inner emotional battles of a woman who was constantly reinventing herself while wrestling with a past she could never quite escape. “She’s not just in the opening scene,” Jason explains. “She lingers. That inner child — the one who was overlooked, who didn’t feel beautiful — she stays with Dusty for life. And that’s such a human, relatable element. It’s really moving.”   A Story Worth Telling More than just a musical biography, Dusty – The Concert  paints a vivid portrait of a woman at war with herself — balancing fame with fear, perfection with pain, and glamour with grief. As a queer woman in a less accepting era, Dusty’s personal life was layered with struggles that remain strikingly relevant. “We use the word ‘icon’ a lot these days,” Amy muses, “but Dusty really was one. And her life story isn’t sugar-coated. She was queer. She was battling mental health issues and substance abuse. She was a perfectionist, often at odds with herself and the world around her.”   Langley adds: “It’s about what happens to creative people who weren’t the most popular kids in school — how the thing that allowed them to blossom can also be the thing that holds them back.”   About more than just nostalgia, Dusty's story still resonates today — in a world where we’re still fighting for LGBTQ+ rights, mental health awareness, and women’s equality in the music industry. “She was an enigma in her time,” Amy says. “Her music was bold, her fashion was bold, but her personal identity — her queerness, her mental health — that all had to be hidden. And it hurt her. But she still created beauty out of that pain.”    Don’t Miss It With its blend of powerhouse vocals, iconic fashion, and heartfelt storytelling, Dusty The Musical – In Concert  offers a vibrant celebration of a true music legend. With only four performances across one week, this is a blink-and-you’ll-miss-it event. Whether you’re a longtime fan of Dusty or only know her name in passing, this production promises to blow the socks off audiences with its artistry, intimacy, and story that needs to be told. So, come for the hits and stay for the heart. DUSTY – THE MUSICAL IN CONCERT Presented by:  Prospero Arts Venue:  QPAC Concert Hall, Brisbane Dates:  5–8 June 2025 Book Tickets Here Starring:  Amy Lehpamer as Dusty Springfield Directed by:  Jason Langley Choreography by:  Michael Ralph AV Design:  Craig Wilkinson Costume Design: Isaac Lummis Musical Direction:  Brendan Murtagh Musical Supervision:  David Young

Title: Taylor Made – The Ultimate Swiftie Singalong Presented By: The Little Red Company Genre: Concert / Pop / Tribute Show Synopsis: Taylor Made is a high-voltage singalong concert experience packed with joy, heartbreak, revenge, release and – of course – all things Taylor Swift. With an electrifying live band, powerhouse vocalists, and lyrics projected for full audience participation, it’s a Swiftie dream come true. This sequin-studded show invites you to scream-sing every word with hot mics and sky-high vibes. Audition Date: Saturday 21 June 2025 Audition Time: 10:00am – 3:00pm Audition Location and Address: Thomas Dixon Centre, 406 Montague Road, West End, QLD Audition Requirements: Applicants must be female-identifying vocalists aged 12–17. Submit a 90-second video (landscape orientation, well-lit room) singing any Taylor Swift song. No tech or performance bells and whistles needed – just your voice and presence! Must be based in South East Queensland. Parent/guardian must be available to attend all rehearsals and performances. Guitar ability is a bonus but not required. Available Role: One young vocalist (female-identifying, aged 12–17) to perform two songs alongside the professional cast during the concert. Audition Registration: Google Form Performance Dates: Friday 25 July 2025 Performance Location: The Tivoli, Brisbane Rehearsal Dates: Monday 21 July – 6:00pm to 9:00pm Wednesday 23 July – 6:00pm to 9:00pm Thursday 24 July – 6:00pm to 9:00pm Production Website: thelittleredcompany.com Other information: This is a voluntary (unpaid) role. Created by Naomi Price and Luke Kennedy Song arrangements by Scotty French

Title: Accidental Death of an Anarchist Presented By: Villanova Players Genre: Comedy, Political Satire Synopsis: A quick-witted madman infiltrates a police station to expose the suspicious “accidental” death of a political prisoner. With outrageous disguises, farcical comedy, and razor-sharp satire, the play unravels corruption, chaos, and absurdity in the justice system. As the line between truth and farce blurs, the play asks: is justice even possible in a world this corrupt? Audition Date: Sunday 6 July 2025 Audition Time: 10:00 AM – 12:30 PM Audition Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills QLD 4170 Audition Requirements: Book an audition time via TryBooking. Complete an Expression of Interest form (even if you cannot attend auditions in person). Contact info@villanovaplayers.com or call Leo on 0428 867 994 for more details. Audition Registration: Book Audition Time Expression of Interest Form Available Roles: The Maniac (Male): An unnamed, compulsive performer who is the only character who can see the audience. Playing age: late 20s to early 40s. Superintendent Curry (Male): The station chief. Playing age: mid 50s. Detective Dan Daisy (Male): A plain-clothes detective. Playing age: 30s–40s. Inspector Burton (Male): From the third floor. Playing age: 40s–50s. PC Joseph (Male): Superintendent’s aide. Playing age: 20s–30s. PC Jackson (Female): From the third floor. Playing age: 20s–30s. Fi Phelan (Female): A journalist. Playing age: 20s–40s. Note: Jackson and Phelan are in different halves of the play and may be played by the same actor or cast separately. Performance Dates: 3rd to 5th October 2025 Performance Location: Ron Hurley Theatre, Seven Hills, QLD Rehearsal Times: Monday and Wednesday evenings, Saturdays Director: Thomas Wood Production Website: villanovaplayers.com

Title: A Night With The Villains Presented By: Mira Ball Productions Genre: Cabaret / Musical Theatre / Parody Synopsis: It’s Halloween, and some of musical theatre’s most villainous souls return for a sinister cabaret. A Night With The Villains is a darkly hilarious concert event that invites performers to embrace their inner baddies in an evening of twisted musical theatre and pop tributes. This Matilda-nominated production blends cabaret, comedy, and a touch of the macabre to honour the tyrants, misfits, and mischief-makers of stage and screen. Don your finest costume and prepare to howl — this Halloween celebration is not for the faint of heart. Audition Date: Submit video audition online by Sunday 22 June 2025 at midnight Audition Requirements: Submit a 1–2 minute video performance of your most villainous song or special skill (comedy/circus encouraged!) Submit a 2-minute monologue as a villain of your choice Provide a current headshot and performance CV List any unavailability that conflicts with key dates Characterisation and bold choices are highly encouraged Audition Registration: Register Here Audition Pack: Click here to download Available Roles: Casting is open to performers of all genres, backgrounds and abilities, aged 18+. Looking for villainous musical theatre performers, cabaret acts, comedians, circus/variety performers, and all-around deliciously dark talent. Performance Dates: Thursday 30 October – Sunday 2 November 2025 Performance Times: Evenings – approx. 7:00pm start Performance Location: Ron Hurley Theatre, Seven Hills Hub, Brisbane QLD Rehearsal Dates: Sundays only Rehearsal Times: Starting Sunday 24 August 2025 Required Age: 18+ Creative Team: Director/Writer: Elodie Boal Choreographer: Jennifer B Ashley Musical Director: Rae Rose Costume Design: Jackie Fredericksen Makeup & Hair Design: Rosie Humphreys Lighting Design: Tony Kerr Associate Producer: Andrew Charles Production Website: www.villainsnight.com Other Information: Callbacks will be held in-person on Monday 30 June, Tuesday 1 July, and Thursday 3 July Callback requirements include a prepared villain song (materials provided) and a group dance call Tech/Dress Rehearsals: Monday 27 – Wednesday 29 October 2025 Cast must be 18+ This is a profit-share production. A formal agreement will be provided to cast members. All enquiries to: hq@villainsnight.com

Title: GLOW Cabaret: Flip The Script Presented By: Phoenix Ensemble Genre: Cabaret / Musical Theatre Synopsis: We all have roles we can’t play — whether due to gender, age, ethnicity, or vocal range — but why should that stop us? In this year’s GLOW Cabaret, Phoenix Ensemble proudly flips the script and brings you bold, unexpected performances that challenge traditional casting. What happens when Annie’s in her thirties? When Elphaba is a baritone? Or the Phantom becomes the Phantom-ess of the Opera? Join us for an unforgettable evening of daring interpretations, rule-breaking renditions, and boundary-pushing talent. One night only — grab your ticket now to see the roles reimagined like never before! Performance Date: Saturday 21 June 2025 Performance Time: 7:30 PM – 10:00 PM Performance Location and Address: The Pavilion Theatre, Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Performer Application Register: GLOW Cabaret Application Form Application Requirements: Song 1: Title and show Song 2: Title and show Headshot (for marketing purposes) A video link of yourself singing (this can be one of the submitted songs or any other audition/showreel video) Availability for soundcheck prior to the 7:30 PM performance