Title: Rumors Presented By: Sunnybank Theatre Group Genre: Comedy / Farce Synopsis: At a stylish townhouse in Sneden’s Landing, four high-society couples gather for the 10th wedding anniversary of the Deputy Mayor of New York. But the party takes a chaotic turn when the host is discovered to have shot himself (just a flesh wound!) and his wife is missing. What follows is a whirlwind of miscommunications, lies, physical comedy, and spiralling absurdity as the guests desperately try to hide the situation from each new arrival. With fast-paced dialogue and eccentric characters, Rumors is a masterclass in farcical hilarity by Neil Simon. Written By: Neil Simon Directed By: Julie Jones Audition Date: Sunday 22 June 2025 Audition Time: 10:00am Audition Location and Address: Sunnybank Theatre, Brisbane QLD Audition Requirements: This is an open audition – no individual times will be scheduled. You must register online in advance to be considered. Actors are encouraged to come prepared and present their interpretation of the character they are auditioning for. American accents required for all roles. Please read the provided character sides and plot synopsis ahead of time. A high-energy ensemble piece with fast-paced farcical timing and heavy reliance on physical and verbal comedy. Visit Sunnybank Theatre Auditions Page for registration and access to audition materials. Audition Registration: Click here to register Available Roles: Ken Gorman (Male, 60+): Lawyer, serious and pompous, comedic physicality required (becomes temporarily deaf). Chris Gorman (Female, 50+): Lawyer, elegant, anxious, and tipsy in Act 2. Physical comedy required. Claire Ganz (Female, 50+): Sarcastic, sharp society wife with a witty edge. Lenny Ganz (Male, 50+): Sarcastic and outspoken accountant with a large comedic monologue. Ernie Cusack (Male, 60+): Psychiatrist, mild-mannered but stressed, mistaken for the butler. Cookie Cusack (Female, 40+): Quirky TV cook with frequent dramatic back spasms. Physical comedy essential. Glenn Cooper (Male, 50+): Polished politician running for State Senate, secretly shady. Cassie Cooper (Female, 20+): Glenn’s jealous and eccentric young wife, full of tantrums and drama. Officer Welch (Male or Female): No-nonsense police officer investigating suspicious behaviour. Performance Dates: 5 September – 20 September 2025 Performance Location: Sunnybank Theatre, Brisbane QLD Rehearsal Dates: From 24 June 2025 Rehearsal Times: Tuesdays 7:00pm – 9:30pm Thursdays 7:00pm – 9:30pm Sundays 2:00pm – 5:00pm Warnings: Prop smoking (Chris), back spasms (Cookie), loud noises/gunshot sound effects Required Age: 18+ Director: Julie Jones Production Website: www.sunnybanktheatre.com.au

Now Playing at New Farm Nash Theatre until May 31 By Bess Wohl | Directed by Phil Carney   "I do realise that's what marriage is; A contract to be tied to each other's stupidity."   It’s a quiet evening in a cookie-cutter retirement village. Bill and Nancy set the dinner table to the sound of a string version of Lewis Capaldi’s Someone You Loved . It’s quiet, tense, and oddly poetic—like watching a couple perform a routine they've perfected over decades, with no warmth left between the movements. Nancy is glaring at Bill like a flatmate who’s had it up to here  with someone setting the table wrong for 50 years. And then—boom—first line of the play: “I want a divorce.”  Bill doesn’t even flinch. Just nods and mutters, “Alright.”  And thus begins Grand Horizons , a sharp, cheeky, and unexpectedly emotional comedy about long-term marriage, family dysfunction, and the glorious chaos that follows when older adults stop pretending and start telling the truth.   This show suits the small stage at Nash Theatre perfectly—intimate, focused, and grounded in reality. The set feels depressingly accurate: neutral-toned furniture, bland kitchen decor, and that eerie sameness of independent living communities. Phil Carney’s direction and set design capture that suburban staleness beautifully. The world may look orderly, but beneath it, things are gloriously messy.   Linda Morgan (Nancy) and Eddie Bruce (Bill) own  the stage. Their dynamic is dry, biting, and utterly hilarious. Linda’s delivery is pure gold—dry as toast, but with a wicked aftertaste. Eddie plays the deadpan, borderline oblivious husband to perfection. You absolutely believe these two have tolerated each other’s quirks and silences for half a century. These characters, now in their 70s, come from a generation where marriage was the expected path—often chosen too young, too fast, and maintained out of duty more than joy. Linda lands a line that had me in absolute stitches: “I’ll make you a sandwich before you go,”  as she kicks Bill out of their home. That sums this whole show up perfectly—cutting humour layered with years of resentment, tenderness, and unspoken care. And then there's Bill’s ill-fated stand-up comedy—offensive, outdated, completely tone-deaf—and somehow, still  hilarious. Eddie leans into it with such conviction, it’s hard not to laugh… even when you know  you shouldn’t.   When their adult sons crash in to “fix things,” things spiral beautifully. Erik de Wit as the older brother Ben is an odd mix of uptight, overwhelmed lawyer and bumbling buffoon. Tyson Hargreaves as the younger brother Brian, a flamboyant, slightly neurotic gay drama teacher, is his polar opposite. Their sibling dynamic is painfully real—who’s more successful, who helps out more, who is the favourite son? Their squabbles echo through the theatre like the sound of every family argument ever. As Ben states while crashing out: "Start a family... That sounds stupid. How stupid does that sound right now?"   There’s also Jess, Ben’s wife and a psychologist—played with understated brilliance (and absolute girl boss energy) by Catherine Sturk. She’s the only one who seems remotely capable of handling this chaos, until she too breaks down in frustration and rage. Her Act II monologue is a feminist mic drop: a rally cry for every woman who has ever felt erased by the titles of wife or mother. And then there’s Tommy—Brian’s one-night stand turned reluctant therapist—played with sparkle and sass by Matthew Ginman. He’s barely in the show, but steals  every second he’s on stage. Their brief scene is one of the funniest of the night: all miscommunication, sexual tension, and total mismatched energy. I loved it.   The Act Two scene between Nancy and Carla (played by Gillian Simpson) is a masterclass in tonal shifts—starting with awkward small talk about scarves, moving into existential rage about aging, and then sliding into hilariously inappropriate 'girl talk'. It’s whiplash in the best way, and a reminder that older women are still bold, brilliant, and not to be underestimated. Bess Wohl’s writing is sharp, insightful, and deeply human. Yes, some of the acting is a little clunky here and there—but honestly? It works. This isn’t Shakespeare. It’s real, uncomfortable, hilariously familiar Aussie family chaos. The imperfections make it all the more relatable. In fact, there are so many little moments in this show that feel scarily  real. Like Nancy’s random late-night confession to Brian about a secret she’s held for decades—while he’s curled in a blanket fort trying desperately  not to hear her cringy oversharing.   There’s a brilliant moment in Act One that ends in a gasp-worthy special effect (no spoilers, but… damn), and Act Two escalates things with more surprises, more yelling, more painful truths, and somehow… more laughs. The audience on the night I attended was absolutely with  the show—laughing, gasping, and groaning at the sheer accuracy of the family dysfunction on display.   The final scene between Bill and Nancy is stunning. It’s chaotic, humorous, poignant, and utterly genuine. This play resonates deeply. My mum was my guest, and she cackled  through it, recognising aspects from her own life—then offered the perfect summary: “Children often struggle to see their parents as real people, and parents are often oblivious to the effect they have on their kids." I couldn’t have put it better myself.   Grand Horizons  is funny, moving, and brimming with uncomfortable truths. If you haven’t seen it before, go. You’ll laugh, you’ll cringe, you might even see your own family in the mess of it all. Go for the aching reminder that love, in all its messiness, still has room to grow—even after fifty years. It’s never too late to speak the truth, or to finally feel seen.

The Importance of Being Earnest by Oscar Wilde Presented by Passion Productions Oscar Wilde once penned, “The truth is rarely pure and never simple.” But here's a truth that's as clear as a bell: I adore this play. I've already reviewed several versions, and I've got another lined up for this weekend. Call me a theatre addict, I dare you! Passion Productions’ take on The Importance of Being Earnest  was a sharply executed celebration of Wilde’s beloved comedy, bursting with social satire, absurd plot twists, and enough witty banter to fill a teacup (or several). Director Prue Robb and her whip-smart cast delivered a fresh, fearless staging that paid tribute to the original while gleefully playing with its possibilities.   Set in what seemed to be a 1950s/60s-infused version of Wilde’s world, the production took a bold stylistic approach with anachronistic costume choices. And while this may have felt a little out of place at first, it quickly became clear that the commitment to character and comedy far outweighed any need for strict period accuracy. Instead, we were treated to paisley prints, go-go boots, dramatic wigs, and silk playboy robes and fluffy slippers. Algy strutted around in a groovy purple getup, while Miss Prism's hair reached for the sky, and Lady Bracknell's wardrobe made sure all eyes were on her. The set was minimal but functional. With so much colour and chaos radiating from the characters themselves, the simplicity of the staging gave them plenty of space to move, scheme, and snack their way through Wilde’s deliciously tangled plot.   From the moment Rushad Katrak sashayed onstage as Algernon Moncrieff, it was clear we were in confident comedic hands. With Rupert Everett-esque charisma, a devilish smirk, and a twinkle of sin in his eyes, Rushad’s Algy was an irresistible blend of dandy and disaster. He played the character’s bottomless appetite—for food, drama, and a good old-fashioned fun—with infectious glee. Rushad’s Algy may have been a walking whirlwind, but every storm needs its eye—and that’s where Michael Ware’s Jack Worthing came in. Michael was the perfect foil, grounding the mayhem with gentlemanly awkwardness, dry wit, and some some truly cackle-inducing physical comedy. Having previously seen him portray this same role with Villanova Players Theatre, it was a treat to witness him lean even further into the humour this time with his overly-refined accent, earnest expressions, and barely concealed exasperation—as if Jack might unravel completely at any given moment. Angela Lal as Gwendolen Fairfax was an absolute hoot—poised, perky, and perfectly ridiculous. With a voice dipped in sugar and sarcasm, she zoomed through Wilde’s endless wordplay with precision and unending energy. Gwendolen never stops talking, and honestly, I have no clue when Angela found time to breathe! Every line was delivered with theatricality and her exaggerated obsession with the name Ernest  bordered on tragicomedy. Her second act crash-out was a comedic highlight; equal parts elegance and hysteria.   Maeve Lynch’s portrayal of Cecily Cardew was a bright, bubbly whirlwind of romantic fantasy and youthful charm (and just a little bit unhinged). Decked out in go-go boots and hippie florals, she floated through the show like a lovestruck daydreamer and drama queen. Maeve infused Cecily’s innocence with an intelligent unpredictability; she was wide-eyed and sweet, but not without bite. Her frenemy tension and petty exchanges with Gwendolen were always accompanied by a sharp retort, delivered with a polite sparkle. All smiles and all daggers. Then there was Bradley Chapman as Lady Bracknell, and what a moment it was. From the vibrant wig to the booming voice and every judgmental glance in between, Bradley didn’t just portray Lady Bracknell/Aunt Augusta—he became her. His very first entrance commanded the attention, dripping with grandeur and disdain. With haughty elegance, he delivered each line with delicious precision. Whether it was a disapproving scowl, delivering a verbal smackdown, or reacting in perfectly timed horror, Bradley was magnetic. Stacie Hobbs was a treat as the adorably flustered Miss Prism. Completely transformed by her self-made wig, tweedy costume, and impressively aged-up makeup, she threw herself into the role with perfectly tuned nervous energy. Paired with Damien Quick as the wonderfully awkward Reverend Chasuble, the duo brought a sweetly repressed tension to their scenes. Damien, also aged up with white hairspray, gravelly voice, and a walk slower than a sloth, was the perfect counterbalance to Prism’s frazzled charm. Together, they portrayed the awkward elderly flirtation so well, I almost forgot they weren’t actually pensioners.   Alex Graves, who filled in at the last moment for an unwell cast member (Malithi Weragama), was a quiet MVP in the dual roles of butlers Lane and Merriman. With barely a day of rehearsal, he slotted in seamlessly; an impressive achievement in a show packed with fast-paced banter. His wonderfully dry delivery, hovering presence, and perfectly timed comebacks added a layer of understated humour that elevated every scene he appeared in. You’d never have guessed he was a last-minute replacement—his performance was cool, consistent, and genuinely impressive.   What really made this production pop was how tight and articulate everyone was. Wilde's text is like a verbal obstacle course—ready to trip up the unprepared—but this cast crushed it. No mumbling, no tripping over words, and no sagging accents. Each emphasised word landed, every punchline hit its mark, and the audience ate it up like cucumber sandwiches.   Director Prue Robb struck a brilliant balance between tradition and playful irreverence. Certain scenes were reimagined in clever, surprising ways, and the cast embraced every choice with enthusiastic gusto—bringing a joyful unpredictability to even the most familiar lines. It was clear the ensemble understood both the style and stakes of Wilde’s world, and their passion made this century-old text feel more alive than ever.   Yes, the set was simple, but that only allowed the performances to shine even brighter. While a more immersive backdrop might have added atmosphere, it was clear this production didn’t need it to succeed. The vibrant costumes and dynamic character work provided the visual flair, while the stripped-back staging gave the actors ample room to explore every inch of the comedy. The audience’s laughter came easily and often, feeding the infectious sense of fun onstage that never wavered. Bravo to all involved!

Title:   Carrie: The Musical Presented by:  Queensland Academy of Excellence in Musical Theatre and QPAC Venue:  Cremorne Theatre, QPAC Directed by:  Gavin Mitford Musical Direction:  Heidi Loveland Choreography:  Dan Venz Meet Carrie White: the queen of revenge, misunderstood power, and… maybe just a little bit of overreacting? Based on Stephen King's chilling 1974 novel, Carrie: The Musical  is a darkly tragic coming-of-age tale with a supernatural twist. At home, Carrie is shackled by her mother’s oppressive religious fundamentalism. At school, she is humiliated for not understanding menstruation and persecuted for simply being different. In between, she burns quietly—yearning for belonging, suffocating under shame, and unaware of the telekinetic power that simmers within her. When a cruel prank pushes her too far, prom night becomes a turning point no one would ever forget. Her tragic descent reminds audiences of the importance of empathy, the danger of conformity, and the silent struggle of those marginalised by society. From the opening number, "In,"  the vocals were sharp, the energy was high, and the standard was immediately set. This semi-professional showcase of rising talent from the Queensland Academy of Excellence in Musical Theatre’s graduating class—based at Griffith University—highlighted the exceptional calibre of the Conservatorium’s students. They tackled this mammoth show with impressive vocal and emotional stamina, along with a stage presence strong enough to hold their own on any mainstage. It was a clear glimpse into the next generation of powerhouse performers, and evident that immense training and care had gone into every element of this production. Cast Highlights Kate Hudson-James brought a haunting fragility to the role of Carrie (with Ellie Carragher listed as the alternate). From her belted introduction— “That’s not my name!” —her voice sliced through the taunting noise with anguish and defiance, immediately establishing a powerful presence. Kate handled this emotionally layered role with a quiet strength that grew more palpable as the story unfolded. Portraying such a complex character comes with immense pressure, and while there were moments where a touch more fire could have heightened the transition from submissive teen to vengeful force of nature by the end of Act One, she carried the emotional weight of the role with a noticeable, simmering rage. Olivia Horne, as Margaret White (with Christina Keen listed as the alternate), was a chilling standout. Her operatic vocals were haunting, and she embodied the conservative, abusive, and terrifying essence of Carrie’s mother with unnerving precision. Olivia’s acting skills were particularly striking—her face radiating an expressive desperation, while her eyes remained eerily detached, creating a deeply unsettling contrast. Her duets with Kate, “And Eve Was Weak”  and “Evening Prayers”,  were both vocally stunning and harrowing. Olivia's final solo, “When There’s No One,”  was delivered with gripping intensity, though the dramatic impact was slightly undercut by staging that left her partially obscured behind a table. Ella Harding devoured the role of Chris Hargensen with wicked glee. She had the pipes, the presence, and the perfect mean-girl energy. “The World According to Chris”  was a total showstopper; sassy, sharp, and packed with vocal firepower—every belt hit like a punch! Ella chewed up every scene she was in, owning the stage with an effortlessly commanding presence. During the prom climax, her vocal stamina and sheer intensity were especially jaw-dropping. Croft Phillips brought an unpredictable, intimidating edge to Billy Nolan. His physicality amped up the menace in Chris’s schemes, and the chemistry between them was electric. Together, they were a magnetic villainous duo—wild, unhinged, and all too believable. Charlie Preston’s Sue Snell was soft-spoken and naïve, but ultimately compassionate—bringing a much-needed sense of heart to the story. Her rendition of “Once You See”  was tender and beautifully sung, and she carried Sue’s emotional arc of guilt and growth with quiet grace. Sam Henderson brought a gentle charm to Tommy Ross, with “Dreamer in Disguise”  serving as a brief but lovely showcase of his vocals. His chemistry with both Sue and Carrie felt genuine, adding a softness that helped temper the show’s darker edges. However, he was occasionally hindered by staging—most notably during his visit to Carrie’s house, where he was placed behind a fence panel that left him difficult to see from side seats and frustratingly hard to light. Niamh Cadoo-Dagley (Miss Gardner) delivered an endearing performance, and her duet with Carrie, “Unsuspecting Hearts,”  was both heartfelt and subtly humorous. Her Southern accent added character, though it stood out in contrast to the largely neutral dialects maintained by the rest of the cast. Max Baldock offered a grounded, solid portrayal as Mr Stephens, anchoring the classroom scenes with ease and always ready with a witty comeback. Notably, although the performers portraying the adult roles were the same age as their student counterparts, their physicality and vocal maturity made the character distinctions entirely believable—no easy feat, but executed with real finesse. The ensemble was incredibly cohesive—vocally crisp, sharply rehearsed, and brimming with energy. Background characters made distinct, thoughtful acting choices that added colour and personality to each scene. A special shoutout to the guy dancing solo at prom—sir, your vibe was immaculate. Production Elements Presented in the Cremorne Theatre at QPAC, the stage design was immediately striking. A two-level structure dominated the space, enclosed in parts by chain-link fencing that gave the set the feel of a cage. Looming upstage was a large stained-glass window depicting Eve and the Serpent, with serpent motifs curling their way along the fences—boldly reinforcing the show’s central themes of corruption, shame, and original sin. A movable staircase facilitated innovative re-blocking, with a transparent compartment underneath where Carrie was frequently confined. This clever design choice provided the audience with an unfiltered view of her psychological distress, keeping her in our sight even when isolated. The levitating crucifix and floating book were delightful uses of theatrical special effects. Used sparingly, these moments of supernatural activity felt grounded in Carrie’s lived reality—which was arguably even more haunting. Costuming was kept fairly simple, mainly consisting of school uniforms until the pivotal prom scene. Carrie’s outfit was noticeably more conservative than her classmates’—a subtle but powerful choice that reflected how tightly she had been “buttoned up,” both literally and figuratively. That said, her hair could have been styled more modestly in the beginning to better visualise her repression and enhance the transformation later on. Unfortunately, Carrie’s prom dress didn’t quite land. The shiny light pink fabric and awkward cut felt more distracting than deliberate, and it didn’t convincingly read as “homemade”—especially after a previous scene showed her sewing a powder-blue gown. The design also looked impractical for movement and dancing; Kate appeared visibly uncomfortable, often adjusting it. Most disappointingly, the iconic blood-drop moment lost visual impact against the pale pink fabric—a missed opportunity in an otherwise visually thoughtful production. Keith Clark’s lighting was both atmospheric and purposeful, particularly during the climactic destruction scene, which was executed with precision. Steve Thornely’s sound design was excellent—clean mics, balanced levels, and crystal-clear diction ensured that no dialogue or vocal nuance was lost in the chaos. The striking final image of prom—Carrie blood-drenched, standing at the top of the stairs like a queen of ruin beneath her crown of thorns—was a moment of haunting beauty. A nightmare coronation indeed. Artistic Choices Gavin Mitford’s direction showed great vision but occasionally missed the mark. While the direction was overall thoughtful and effective, there were moments where simplicity would have served the storytelling better. For instance, Carrie’s solo “Carrie” lost emotional intimacy by being staged with classmates frozen in tableaux around her—a visually interesting concept that unintentionally diluted the personal impact of the moment. Similarly, “You Shine,” a romantic duet between Sue and Tommy, began with a sweet, symbolic touch using ensemble members holding torches and props, but the effect became cluttered and distracting as the number progressed. That said, the need to showcase as many cast members as possible—given the nature of a tertiary course—was understandable. The relationship between Sue and Carrie could have used deeper exploration. As a result, their final scene didn’t land with the emotional weight it deserved. The show also didn’t conclude as strongly as it began—the framing device of Sue’s interrogation felt like it was building toward a final callback that never came. Still, it’s important to remember this production is just one milestone in what will be long, exciting careers for these emerging performers. I’m especially looking forward to their next venture, A Chorus Line , which will no doubt offer many of them a well-earned moment in the spotlight. Pacing throughout the show was tight—sometimes too tight. Transitions were so rapid that several musical numbers passed before the audience could applaud. A bit more breathing room between scenes would have allowed the performers to absorb the well-deserved recognition and given the audience time to process the emotional rollercoaster they had just experienced. Heidi Loveland’s music direction and Dr. Melissa Agnew’s vocal coaching were outstanding. The ensemble’s harmonies were on point, phrasing was expressive, and every voice served the emotional landscape of the score. The vocal cohesion and control across the cast—particularly in complex group numbers—was seriously impressive. Dan Venz’s choreography was slick and character-driven, combining classic musical theatre vocabulary with teen angst and hormonal chaos. Every movement felt purposeful and true to character. “A Night We’ll Never Forget” was a standout—bursting with energy, attitude, and a feverish prom-night intensity. The ensemble matched the music’s pulsing momentum with a delicious mix of sass and tension that helped bring the prom scene vividly to life. This production of Carrie: The Musical  delivered a haunting, heartfelt take on one of the most emotionally demanding pieces in the canon. It spoke powerfully to a modern audience, tackling difficult themes—religious trauma, social alienation, blind conformity—and the result was a performance that lingered. You could feel the audience leaning forward, breath held, as Carrie exacted her bloody vengeance. The cast’s raw, emotional performances—especially from Olivia, Ella, and Kate—anchored the show’s tragic heart. Yes, there were moments that could have been sharper, scenes that might have landed harder, and staging choices that occasionally obscured performers from key vantage points. But none of that detracted from the truth at the core of this performance: the audience was hooked. Some songs passed so swiftly that applause couldn’t catch up—not due to lack of appreciation, but because the production swept us up and didn’t let go. Maybe that’s the point. Carrie  doesn’t let you breathe. It drowned you in dread, then set the whole thing alight. To every young performer involved: your voices were powerful, your presence undeniable, and your commitment deeply felt. The Queensland Academy of Excellence in Musical Theatre has once again proven itself to be a breeding ground for the stars of tomorrow—and if Carrie  is anything to go by, the future of Australian musical theatre is thrillingly bright.

Title : No Dinner for Sinners Presented by : Centenary Theatre Group Written by: Edward Taylor Directed by: William McCreery-Rye. Now playing until 1st June - Tickets available here If you’re after a night of pure, unadulterated British farce — complete with tangled lies, eccentric characters, and enough comedic chaos to make your head spin — No Dinner for Sinners at the Centenary Theatre Group delivers it with gusto. This delightful romp throws a man, his many “wives,” and a very confused goldfish into a London apartment, and makes the resulting disaster absolutely hilarious. Grab your cup of tea and prepare for a rollercoaster of mistaken identities and misadventures.   Edward Taylor’s British comedy gets a thoroughly entertaining revival under the direction of William McCreery-Rye. Set in a cozy London flat—beautifully rendered with a clever projected window showing the London skyline, a drinks trolley that sees way too much action, and a real goldfish swimming blissfully unaware in its bowl—the story unfolds like a hybrid of The Birdcage and Fawlty Towers , with naturally delivered dialogue that maintains the quick pace and keeps the laughs coming.   We meet Jim Watt… a man in finance, trust fund, 6'5", blue eyes. He is a bumbling, upper-class, slightly egotistical Brit with the emotional intelligence of a ham sandwich, attempting to win over his conservative boss by pretending to be married. Problem is—he’s not. Enter the exes, the current girlfriend, his attractive assistant, and finally, in a stroke of misguided brilliance, the eccentric cleaning lady who agrees to play wife for a fee. Cue carnage...   James Sheehan plays Jim with a brilliant mix of panicked desperation and childish daftness. He’s the kind of character who always looks like he’s about to either cry or combust, and it works a treat. His vocal projection is clear, his reactions are gloriously over-the-top, and he absolutely sells the man-on-the-edge energy needed for a farce like this. Jim lies with all the elegance of a toddler stealing cookies and watching him dig himself deeper and deeper is delicious fun.   Amanda Devlin shines as Helen, Jim's witty and justifiably frustrated girlfriend. Amanda infuses Helen both strength and sass, commanding the stage whenever she walks in with a withering stare that says, “Jim, honestly.” She’s sophisticated, clever, and the only one in the room who seems to be using her brain.   Then there’s Edna. Oh, Edna. Played with absolute joy by Julie Collins, she quickly becomes a crowd favourite with her gritty accent and unfiltered speech. Her transformation in Act Two, when she takes on the role of Jim's "much older" wife with a shocking new hairstyle, quirky outfit, and vibrant makeup, is the kind of unhinged delight I crave in live comedies.   Amelia Slatter, as Terri Pringle, Jim’s exceptionally eager secretary, brings so much sparkle to the character. She floats in like the picture of grace and charm, with the perfect mix of flirtation and a scheming glint in her eye. She owns every moment she’s onstage, and when she also shows up to pretend to be Jim’s wife (yes, that makes three in one night), the madness hits peak mayhem.   Rounding out the cast are Chris Guyler and Natalie Pedler, portraying Bill and Nancy McGregor, characters who arrive later in the show with pronounced Southern American accents and an aura of conservative elitism. Chris plays Bill with great authority, rattling off an avalanche of figures and stats like a man who dreams in stock exchange graphs. Natalie, as Nancy, is poised, charming, and plays beautifully off the others, making an adorably confused counterpoint to the British chaos around her.   The production design deserves a special mention. From the "Keep Calm and Carry On" pillows to a poster of Amanda as Ginger Spice, and Edna’s strategically-placed cheeky apron to Nancy's comically gigantic wedding ring, it creates a visually rich and cleverly constructed environment. Costumes by Serena Altea are the finishing touch—especially Edna’s makeover ensemble, Terri’s stunning blue gown, and Helen’s lingerie-chic elegance. Each item enhances the comedic impact just that little bit harder.   The show moves like a well-oiled machine—especially in Act Two, when the true farcical energy explodes. Even though some storylines seem a bit outdated and not politically correct by today's standards, they don't spoil the enjoyment. My only tiny gripe is the dance encore: “Always Look on the Bright Side of Life” is a cheeky British nod (and the appearance of Brian-on-the-cross outside the window got a solid chuckle from me) but it feels like an odd tonal shift after the story wraps. Fun, but a bit out of place.   No Dinner for Sinners  serves up exactly what it promises—no dinner, lots of sinners, and a whole heap of hilarity. It is a loving tribute to classic British farce, packed with sharp performances and absurdly funny moments. It’s the kind of show that doesn’t take itself too seriously—and thank goodness for that. Sometimes, a bit of silly escapism is exactly what the doctor ordered.

Title: Sex Please, We're Sixty Presented By: BATS Theatre Company Inc. Genre: Comedy / Farce Synopsis: At the charming Rose Cottage Bed & Breakfast, guests keep coming back... and not just for the quaint accommodations. Bud Davis—known affectionately (and scandalously) as "Bud the Stud"—believes these ladies return for his irresistible charm and silver-tongued allure. The no-nonsense owner, Mrs. Stancliffe, is having none of it—at least outwardly. Meanwhile, her sweet, long-suffering neighbour Henry, a retired chemist, has developed a libido-boosting pill for menopausal women that’s never been tested—until now. Cue mistaken identities, love triangles, and a whole lot of cheeky chaos in this wildly funny and bold comedy about aging, attraction, and affection. Audition Dates: Tuesday, 1st July 2025 – 7:30pm Thursday, 3rd July 2025 – 7:30pm Audition Location and Address: Buderim War Memorial Hall Audition Requirements: No specific preparation mentioned. All welcome—seasoned performers and newcomers alike! For more information, contact the director: Julian White at production.batstheatre@gmail.com Available Roles: Bud Davis (70+): Frail-looking but surprisingly sprightly. Nicknamed “Bud the Stud,” he’s brash, flirty, chauvinistic—and oddly charming. Mrs. Stancliffe (65+): No-nonsense owner of Rose Cottage. Proper, punctual, practical, and poised... with a secret yearning for more. Henry Mitchell (60+): Retired chemist and perpetual suitor to Mrs. Stancliffe. Kind, tender, respectful—a true gentleman. Victoria Ambrose (50+): Best-selling author of spicy romances. Intelligent, serious, secretly yearning for the passion she writes about. Hillary Hudson (50+): Classy, articulate, and elegant. Former colleague of Henry. Smart and menopausal with refined taste. Charmaine Beauregard (50+): From Sydney’s North Shore. Bold, bubbly, and driven by her very healthy libido. Vivacious and larger-than-life. Performance Dates: Friday, 26th September 2025 Saturday, 27th September 2025 Friday, 3rd October 2025 Saturday, 4th October 2025 Rehearsal Dates: Commencing Tuesday, 15th July 2025 Rehearsal Times: Tuesdays: 7:30pm Thursdays: 7:30pm Required Age: Adult roles – primarily seeking performers aged 50+ Production Website: https://batstheatre.com/auditions Other Information: All cast members will be required to become members of BATS Theatre Company Inc. (small membership fee applies)

Title: Cinderella and the Glass Slipper Presented By: KSP Theatre Genre: Pantomime Synopsis: Cinderella transforms from a domestic servant to a princess with a little help from her fairy godmother. This classic story features plenty of humour, magic, and whimsical characters. Audition Date: Tuesday 3rd June 2025 Audition Time: 7pm - 9pm Audition Location and Address: KSP Theatre, Cnr Old Bay Rd & Maitland Rd, Burpengary Audition Requirements: Cold read from the script Small group choreography audition Prepare a 1-minute vocal (singing) audition piece Rehearsal Dates: Sunday 4pm-8pm Tuesday 7pm-9pm Thursday 7pm-9pm First Rehearsal (Script Read-Through): Thursday, 5th June 2024 at 7pm Performance Dates: 1st - 9th August, 2025 Ages: 10+ Available Roles: Prince Charming Dandini Baron Stoneybroke Baroness Erica & Ernestine Cinderella Buttons Fairy Godmother King & Queen Town Crier Major Domo Pegasus Ladies & Gentlemen of the Chorus Director: Margaret Watson For more information and to register, contact KSP Theatre.

Title: The Wizard of Oz Presented By: BeXD Create Genre: Musical Theatre / Holiday Workshop Synopsis: Follow the Yellow Brick Road in this magical journey from Kansas to Oz! Join Dorothy Gale as she’s swept away from her Kansas farm to the magical land of Oz. On her journey to meet the mysterious Wizard and find her way home, she befriends a Scarecrow, a Tin Man, and a Cowardly Lion — all while evading the Wicked Witch of the West! This timeless tale celebrates friendship, courage, and the power of believing in yourself. Students will spend six immersive days developing their characters, rehearsing choreography and music, and preparing a full-scale production of The Wizard of Oz. This workshop is inclusive, educational, and jam-packed with performance opportunities for every participant. Audition Self-Tape Due: Monday 16th June, 2025 Audition Requirements: To audition for a lead or featured role: Slate (Intro): Name, role(s) you're interested in, dance/performance experience, and something fun about yourself. Song: Choose from the Audition Songs Google Drive Folder (use backing track). Audition Side: Choose from the Audition Scenes Folder. Dance: Optional, but encouraged for dancers or those auditioning for “The Jitterbugs.” Learn the choreography here. Combine all segments into one video and submit as an unlisted YouTube link or via cloud storage (Google Drive, Dropbox, iCloud). Submit to: admin@BeXDcreate.com Audition Registration: Click here to register for the workshop before submitting your audition. Rehearsal Dates: Monday 7th – Saturday 12th July, 2025 Rehearsal Times: 9:00 AM – 4:00 PM daily Performance Date: Saturday 12th July, 2025 Performance Times: 2:00 PM (followed by pizza party) Performance Location: St Peters Lutheran College, 66 Harts Rd, Indooroopilly QLD 406 Required Age: Ages 6–18 Workshop Fee: $550 Production Website: www.bexdcreate.com Available Roles: Dorothy: A sweet, innocent young lady with a streak of boldness. Slightly outspoken and headstrong. Must be a strong vocalist, actor, and confident dancer. Miss Gulch / Wicked Witch Miss Gulch – A cold-hearted neighbour who despises Toto. Wicked Witch – Obsessed with revenge on Dorothy and loves a good evil cackle. Non-singing roles. Strong acting ability and commanding stage presence required. Hickory / Tin Man Hickory – A kind-hearted farmhand. Tin Man – Gentle and nurturing but believes he lacks a real heart. Singing role with strong movement sequences. Hunk / Scarecrow Hunk – Another of Dorothy’s farmhand companions. Scarecrow – Clumsy yet clever, despite thinking he lacks a brain. Strong acting and singing required, with excellent body control and rhythm. Zeke / Cowardly Lion Zeke – A gentle farmhand. Cowardly Lion – Lovable, loud, and loyal, though lacking courage. Requires strong comedic timing, singing, and physical acting. Professor Marvel / The Wizard of Oz Professor Marvel – A travelling salesman and fortune teller; a bit of a con man, but ultimately kind-hearted. The Wizard – Commanding and grand on the outside, but just an ordinary man behind the curtain. Non-singing role. Strong actor required with excellent comedic timing and ability to deliver chunky monologues. Toto: Dorothy’s beloved dog, played by a performer once in Oz. Energetic mover with minimal singing, lots of barking and playful physicality! Glinda: The Good Witch of the North who gently guides Dorothy on her journey. Elegant and graceful performer with a lovely singing voice. Aunty Em & Uncle Henry Aunty Em – A hardworking farmer’s wife who deeply loves Dorothy. Mainly an acting role with a small vocal solo. Uncle Henry – Owner of the farm and Em’s husband. Acting role only. The Doorman & Emerald City Guard: Two fun, quirky acting roles in the Emerald City. Non-singing. Great character actors encouraged to audition. Munchkins Bright and bubbly residents of Munchkinland. Energetic performers with strong presence and character work. Singing and acting roles include: Munchkin #1 & #2 Mayor of Munchkin City Barrister City Fathers #1 & #2 Coroner Three Tots Three Tough Kids Crows: Mischievous and playful – they tease the Scarecrow and steal his hat. Singing and acting roles. Apple Trees: Grumpy trees who don’t take kindly to Dorothy picking their fruit. Acting roles – great opportunity for character work! Winkie Guards: Marching army of the Wicked Witch. Physical ensemble roles with stylised movement. Winkie Guard Leader – A featured speaking/singing role. Winged Monkeys: The Witch’s animal-like army. Expressive movement and characterisation. Physical ensemble roles. Nikko – Leader of the Winged Monkeys. Non-speaking acting role with strong movement and stage presence. The Jitterbugs: Stylish and sassy dance ensemble who try to out-dance the heroes! Strong dancers required – featured dance ensemble. Ozians: The colourful and eccentric citizens of the Emerald City! Ensemble roles with a mix of singing, dancing, and acting.

Title: Children's Theatre Troupe Auditions – Winnie the Pooh Presented By: Thrive Productions Genre: Children's Theatre Synopsis: Thrive Productions is excited to launch their new Children’s Theatre venture with an original script of Winnie the Pooh. Directed by Ava Moschetti, this production seeks 8 performers to join the troupe for the 2025 season, bringing this beloved story to life with charm and fun for young audiences. Audition Date: Sunday, 15th June 2025 Audition Time: 8:00 AM – 12:00 PM Audition Location and Address: 127 Sandgate Rd, Albion (Alchemy Studios) Callbacks: Monday, 16th June 2025 from 6:00 PM (details provided if called back) Audition Registration Closes: 12:00 AM, Saturday 14th June 2025 Audition Requirements: Prepare a 1-2 minute song in the style of children’s theatre Prepare a 1-2 minute children’s story (acted) Movement call included – wear comfortable clothes and bring a water bottle Auditions are in 10-minute blocks with a mandatory 1-hour group audition from 9:30 – 10:30 AM Select preferred audition slot when registering: Slot 1 (8:00 – 10:30 AM) or Slot 2 (10:30 AM – 12:00 PM) Must be 18+ to audition Audition Registration: Register here: https://forms.gle/dDTNSZeepQHU2fds9 Performance Dates: September 20, 24, 25, 26, 27 & October 1, 2, 3, 4, 2025 Two performances daily at 10:30 AM & 2:00 PM Performances at St Joseph's College, Gregory Terrace, Spring Hill Rehearsal Dates: Monday: 5:00 PM – 8:00 PM Wednesday: 5:00 PM – 8:00 PM Thursday (starting August): To Be Confirmed Note: Not all performers will be required at every rehearsal. Other Information: For questions, please email thrive.childrenstheatre@gmail.com

Title: Joseph and the Amazing Technicolor Dreamcoat Presented By: Noosa Arts Theatre Genre: Musical Theatre Synopsis: Noosa Arts Theatre celebrates 30 years since its original production of Joseph and the Amazing Technicolor Dreamcoat with a spectacular new staging of Andrew Lloyd Webber and Tim Rice’s much-loved musical. This sung-through, family-friendly show tells the story of Joseph, the dreamer with a vibrant coat, as he journeys from favoured son to Egyptian hero in a high-energy tale filled with humour, heart, and dazzling songs. With catchy tunes like “Any Dream Will Do,” “Go, Go, Go Joseph,” and “Close Every Door,” audiences will be treated to a vibrant mix of musical styles, from calypso to rock ’n’ roll. A stellar Youth/Adult cast and Children’s Choir will bring this biblical story to technicolour life. AUDITION DETAILS: Audition Dates: Saturday 14 June 2025 10:00am – 1:30pm: JOSEPH – (Youth or Adult Male) 2:00pm – 4:30pm: NARRATOR – (Youth or Adult, any gender) Sunday 15 June 2025 10:00am – 12:00pm: Children’s Choir (Ages 7–14) – Open Call 12:30pm – 2:30pm: Youth Ensemble (Ages 15–18) – Open Call 3:00pm – 5:00pm: Adult Ensemble (18+) – Open Call Monday 16 June 2025 From 6:00pm: Featured Female Dancer (15+) – Must register (every 15 min) Saturday 21 / Sunday 22 June 2025 Callbacks as required (from 1:00pm) Audition Location: Noosa Arts Theatre, Weyba Road, Noosaville QLD Audition Registration: All auditionees must register by contacting Margaret Contact: Margaret Courtney: margaretcourtney1913@gmail.com Mobile: 0407 450 621 Audition Requirements: Auditions are role-specific and require specific prepared material from the show. Vocal and backing tracks can be accessed via the theatre's website. Information Session: Saturday 7 June 2025 at 1:30pm – 2:30pm at Noosa Arts Theatre Open to all prospective cast members (Children aged 7+, Youth, and Adults). Find out everything you need to know about the audition and rehearsal process and have your questions answered. CHARACTER LIST: Lead Roles: Joseph (Tenor, M): Charismatic, charming, and vocally strong. Narrator(s) (Soprano or Tenor, any gender): Strong vocalist and storyteller. Featured Roles: Pharaoh (Baritone, M): Rock-star energy, confident stage presence. Mr Potiphar (Baritone, M): Sophisticated, authoritative. Jacob (Baritone, M): Elderly, character actor role. Butler (Tenor/Mezzo, any gender): Energetic, comedic role. Baker (Tenor/Mezzo, any gender): Comedic, character-driven. Featured Female Dancer: Strong dance skills (Tango/Latin preferred). Joseph’s Brothers (Various male voices): Ensemble and featured solos available. Wives (Various female voices): Strong ensemble and movement roles. Children’s Choir (Ages 7–14): Two choirs of six children (boys and girls) Ensemble: Youth and Adult performers as Ishmaelites, Egyptians, dancers, and more. REHEARSALS: Start 15 July 2025 Tuesdays & Thursdays: 6:00pm–9:00pm (as required) Saturdays: 10:00am–4:00pm (as required) PERFORMANCE SEASON: at Noosa Arts Theatre Preview: Thursday 23 October @ 7:30pm (All tickets $32) Opening Night: Friday 24 October @ 7:30pm Evening Performances: October 30 & 31, November 6, 7, 14, 15 - All at 7:30pm Matinees: October 25 & 26, November 1, 2, 8, 9, 16 - All at 2:00pm CREATIVE TEAM: Director: Ian Mackellar Musical Director: Diana Thomson Choreographer: Deb Ellison Costume Design: Margaret Courtney Lighting: James Lownie Stage Manager: David Hill Music Coordinator: Tony Wade Cooper IMPORTANT INFORMATION: All performers must be or become financial members of Noosa Arts Theatre. Full commitment to the rehearsal and performance schedule is expected. Do not audition if you have another show commitment that overlaps or impacts availability. Production Website: www.noosaartstheatre.org.au/auditions

Title: Stranger Sings! The Parody Musical Presented by:  Millennial Productions Directed by:  Kristen Barros Musical Direction by:  Victoria Keomahavong Choreography by:  Jess Briskie Millennial Productions took audiences on a wild ride to Hawkins, Indiana, with Stranger Sings! The Parody Musical  — a campy, unapologetic spoof of the Stranger Things  phenomenon. Packed with ‘80s nostalgia, theatre kid humour, and quirky characters, this show was part tribute, part fever dream, and a joyfully absurd experience, even for those who have never seen an episode. Directed by Kristen Barros, with musical direction by Victoria Keomahavong and choreography by Jess Briskie, the show dove headfirst into the bizarre little town of Hawkins — where, apparently, “stranger things have never happened”… unless you count poor parenting, disappearing kids, weirdos lurking in the woods, secret labs, mad scientists, and an alarming amount of Eggo waffles. This zany ride through Season 1 of the hit series was packed with hints to future plotlines, character cameos, and some sneaky musical theatre references for the nerds (me, I’m the nerd). I caught the show twice — opening night and closing night — thanks to a very theatrical twist of fate: the lighting desk blew up right before the first performance. But instead of calling it quits, the cast and crew powered on like true theatre champs, performing the entire show under the glow of the house lights. No moody Upside Down lighting, no dramatic strobes for the telekinetic powers — just raw talent, improv, and the slightly unsettling reality that the cast could clearly see every single one of our reactions in the audience. The actors leaned into the mishap with extra wit, turning an unexpected tech fail into a meta-parody moment in a show that’s already wonderfully self-aware and totally unhinged. It ended up being this one-of-a-kind, spontaneous experience. Of course, I had to go back for closing night to see the show with all its bells and whistles — and I’m happy to say, the energy was just as electric (pun intended) as before. By then, I had also binged the entire first season of Stranger Things , and my appreciation for both the parody and its characters had grown tenfold. The twelve-person cast was an absolute powerhouse of comic timing, vocal might, energetic moves, and character commitment. Every performer pulled their weight, with some clever character doubling that turned the farcical tone up to eleven... Jaime O’Donoghue was a show-stealer in the dual role of Joyce Byers and puppet-Will Byers (since Will is MIA the whole first season). As Joyce, she captured the intensity of Winona Ryder’s wild-eyed desperation with brilliant facial contortions and flailing emotional chaos. Her big unhinged solo ' Crazy' was a fever dream where Joyce imagines she is Winona Ryder — complete with guest cameos from Ryder’s greatest hits: Beetlejuice , Heathers , Edward Scissorhands , Little Women … As Will “dead-lifeless-eyes” Byers, Jaime somehow breathed life into the puppet. Her solo (or should we say duet?) 'When There’s a Will' was so convincing, I almost believed Will had a voice of his own. Jaime's physical and vocal antics were top-notch, and the absurdity of her scenes was the icing on the cake. Joel O'Brien (Mike), Peter Wood (Dustin), and Elton Jun (Lucas) were the comedic dream team of awkward preteens. Their number 'The Adventure Song' was a riot of goofy moves and perfect childlike antics, made even funnier by the ridiculousness of grown-ups playing 12-year-olds. Joel's voice could move mountains, and he infused Mike Wheeler with all the leadership charisma and preteen goofiness you could imagine — plus, his wig was fittingly tragic. Peter Wood as Dustin was a ball of chaotic, lisping energy. At first, I thought he was overdoing it — until I actually watched the TV show and realised he was actually spot on. Elton Jun was a comedic MVP, juggling the roles of Lucas, the Demogorgon, and a surprise Erica-in-drag moment (complete with a death drop). His physical comedy was a constant head-turner, and his sassy Demogorgon acting choices were everything. Kristin Sparks as Eleven nailed that perfect mix of sweet vulnerability, deadpan weirdness à la E.T., and full-on girl boss energy. She barely had any lines — fitting for Eleven — but more than made up for it with killer dance ability and a stunning voice. Her solo, 'The Dad I Never Had,'  was touching, and her final dance-off showdown with the Demogorgon was gloriously extra — pink dress, blonde wig, the whole shebang (though I was secretly hoping for the makeover after the “unnecessary plot device” moment). But even with that cursed first wig, Kristin fully committed. How she kept a straight face through all of it is beyond me. Chelsea Sales (Nancy/Robin) had a commanding main-character energy, paired with a voice that absolutely sparkled. Her portrayal of Nancy hit all the right notes — perky, daft, and hilariously self-absorbed before Nancy's character development kicked in. Chelsea clearly had a blast bouncing off both Daniel and Emily's energy. 'Friends Forever,' the duet between Barb and Nancy, was a hilariously lopsided anthem about the unlikeliest of BFFs… (or maybe something more?) Their dynamic was both funny and a little heartbreaking, as poor Barb got swept along in Nancy's whirlwind of self-serving antics. Daniel Lelić was a riot playing both Jonathan and Steve. His take on Jonathan Byers nailed that INFP awkwardness and sadboi vibes, while his Steve Harrington was all about hair-flipping swagger, confident delusion, and more daftness. His duet with Nancy ' In These Woods' was ridiculously over-the-top, featuring an interpretive dance break that had everyone cackling. Daniel's epic high note at the end of 'Nice' — a bromantic duet with Dustin that was completely unnecessary yet absolutely perfect — was seriously impressive! Emily Rohweder absolutely crushed it as Barb “I-think-that-went-well” Holland, perfectly capturing the awkward and overlooked energy of everyone’s favourite ill-fated teen. Her solo 'Barb’s Turn' — a glammed-up parody power ballad à la Gypsy — was both powerful and breathless. I loved the gag of her getting winded mid-song. Big numbers are tough, folks! Emily's comedic instincts are razor-sharp, and her quick-witted improv on opening night had me absolutely howling. Jacob Ballard was perfection as Jim Hopper — a gruff, loveable, improv king. It was a shame his song kept getting cut off (' Hopper Triggered'  indeed), especially since Jacob has a stunning voice. Thankfully, his heartfelt reprise of 'The Dad I Never Had'  with Kristin hit me right in the feels. His subtle one-liners and weary dad energy were spot-on. He steered the Upside Down madness with the comic exasperation of the only sane adult in a world gone bonkers — tired, ignored, but determined. Special shoutout to Pheobe Lovell as Mrs Wheeler and Mr Clarke — her physicality as the dorky teacher was a treat, and she gave both roles just the right amount of caricature without going too far. Malcolm Hume as Dr Brenner was delightfully creepy in his tragic "Clive Palmer" wig. Anika Jocumsen as Max (who technically doesn’t exist in Season 1, but she's just there for the vibes) killed it in all the group choreography. These three also backed as very convincing  trees in ' Adventure Song.' The set featured nods to the show — Christmas lights and the alphabet wall, an angled portal doorway, and 80s-era lamps hanging overhead. The lighting design shone brightest on closing night (duh). But ironically, the absence of lights on opening night made certain scenes even funnier. The portal transport pantomime was ridiculous — characters flinging themselves through time and space without effects — and Emily’s commitment to lines like “Just pretend I’m in a pool!” had me snorting. Costumes leaned into the era and the absurd (Eleven’s hospital gown, Hopper’s Hawaiian shirt, Barb’s button-ups), and the wigs — while deliberately tragic — became part of the comedy. The Demogorgon costume was an absolute win! Despite its parody format, Stranger Sings!  required strong vocals and serious movement from its ensemble, and they delivered on both fronts. The energy never dipped, even with the physically demanding choreography and rapid role changes. Jess Briskie filled the choreography with cheeky nods to everything from High School Musical  to Thriller , Pulp Fiction , and Hot to Go  — all blink-and-you’ll-miss-it moments that kept the momentum up until the end. And the Bowie/Madonna cameos in ' The Final Battle ' were deliciously unexpected. Because... MUSIC. WE. NEED. MUSIC! Musical director Victoria Keomahavong worked wonders with this cast. In particular, the harmonies in 'Getting Closer' (Act I finale) were tight, layered, and so satisfying. Every performer brought vocal power, and despite being a small ensemble, they never sounded thin. And while there’s no single “main character” in the musical (unless you ask Barb), every performer had a moment to shine. Musical theatre references were peppered throughout — Mean Girls , Wicked , Gypsy , Xanadu , Yentl , Hadestown  — along with pop culture callbacks and even a snippet of Running Up That Hill . With a stellar cast, nonstop energy, and enough inside jokes to make any fan giggle, Stranger Sings  was an absolute riot — whether the lights were working or not! Millennial Productions created something genuinely special: a lovingly unhinged celebration of fandom, theatre, and the art of roasting the things we love. It was meta and campy in all the right ways, never tipping into cringe. You could tell the team had an absolute blast bringing it to life — and the audience was right there with them. Photography @bybrit.creative

Title: Footloose Youth Edition – July 2025 Holiday Workshop Presented By: BG Performing Arts Genre: Youth Musical Theatre Synopsis: When Ren McCormack and his mother move from Chicago to a conservative rural town, he struggles to adjust to a community that has outlawed dancing. As he clashes with authority—particularly the local preacher—Ren finds unlikely allies and sparks change through music and movement. With themes of grief, rebellion, and reconciliation, Footloose is an upbeat and heartfelt story about finding your voice and dancing through adversity. Ages: 13-18 (Participants must be at least 13 years old by the date of the performance) Cost: $395.00 (Includes rights, royalties, staffing, venue hire, set and props. Additional costume hire fee may apply.) AUDITION DETAILS: Date: Sunday 8th June 2025 Time: 12:30pm–5:30pm (sign-in from 12:15pm) Location: BGPA Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Requirements: Auditions are required for lead, minor, featured dancer, and soloist roles. Not compulsory for ensemble roles, but attendance is strongly encouraged to meet the creative team. Select one monologue (provided upon registration) to prepare and perform. Off-book is encouraged. Participants will take part in a vocal, acting, and dance workshop as part of the casting process. All music and dance components will be taught on the day. Alternate Option: If you are unable to attend the audition day, online video submissions are accepted. Please email info@bgperformingarts.com to arrange. Audition Pack: Click here to access via Dropbox Registration: Register Here AVAILABLE ROLES: Ren McCormack – Charismatic Chicago teen and dance rebel Ethel McCormack – Ren’s strong and supportive mother Reverend Shaw Moore – Conservative local preacher Ariel Moore – Rebellious daughter of the Reverend Vi Moore – Ariel’s mother, peacemaker in the family Chuck Cranston – Ariel’s possessive boyfriend Willard Hewitt – Country boy and Ren’s best friend Rusty – Ariel’s fun-loving friend and Willard’s love interest Urleen & Wendy Jo – Ariel’s friends, bubbly and witty Lulu & Wes Warnicker – Ren’s aunt and uncle Principal Clark – Stern school principal Coach & Eleanor Dunbar – PE teacher and wife Betty Blast – Supportive local burger joint owner Lyle & Travis – Chuck’s friends Bickle, Jeter, Garvin – Willard’s mates at school The Cop – Keeps order in the town Chicago Friends – Ren’s old city crowd Ensemble: Parishioners, Bomont teens, and townsfolk (including Cowgirl Bonnie, Cowboy Bob, Cowgirl Jude, etc.) WORKSHOP SCHEDULE IN-STUDIO REHEARSALS: BGPA Bowen Hills Studio – 12 Jamieson Street, Bowen Hills Monday 7th July – Thursday 10th July: 9:00am – 5:00pm VENUE REHEARSALS: Everton Park SHS Performing Arts Centre – 668 Stafford Road, Everton Park Friday 11th July: 9:00am – 8:30pm Saturday 12th July: 10:00am – 9:30pm PERFORMANCES: Saturday 12th July 2025 - 2:30pm & 7:30pm at Everton Park SHS Performing Arts Centre CREATIVE TEAM Director: Sam Caruana Choreographer: Bella Gordon Music Director: Kate Baxter Production Manager: Tallulah Baird Production Website: www.bgperformingarts.com Enquiries: info@bgperformingarts.com