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

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

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

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

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

Title: Highland Fling Presented By: Act 1 Theatre Genre: Theatre Restaurant / Musical Comedy Synopsis: Set in a whimsical, cheeky Scottish world, Highland Fling is a hilariously farcical theatre restaurant production full of fun, songs, silliness, and over-the-top characters. Whether you're a seasoned performer or just want to give it a bash, this rollicking Scottish tale promises loads of laughs and plenty of opportunities to get involved in a wild, theatrical ride. This is a theatre restaurant show, meaning you'll be performing in and around a live audience enjoying a meal. It's less about polish and more about personality! Embrace your inner Scot and get ready to have a blast! Audition Date: Sunday 22nd June 2025 at 11:00am Tuesday 24th June 2025 at 7:00pm Audition Location: Act 1 Theatre, Strathpine QLD Audition Requirements: No need to be a vocal powerhouse—just bring your best energy, sense of humour, and readiness to have fun! Yes, there are songs, but it’s more about character, comedy, and confidence than opera singing. Available Roles: To be confirmed at auditions – a variety of comedic and quirky characters. Audition Registration: Please message Act 1 Theatre directly to register your interest or for more information. https://www.act1theatre.com.au/auditions Performance Dates: September 5th to September 20th, 2025

Title: Frozen Jr. Presented By: KSP Theatre Company Genre: Youth Musical Theatre Synopsis: Based on the smash hit Disney film, Frozen Jr. brings the beloved tale of Princesses Elsa and Anna to the stage with all the magic, adventure, and heart audiences adore. With a powerful score including "Let It Go", "Do You Want to Build a Snowman", and more, this enchanting youth production tells the story of love, acceptance, and the unbreakable bond between sisters. Audition Details: Audition Date: Thursday 3rd July, 2025 Audition Time: 9:00am – 11:00am and 1:00pm – 3:00pm Audition Location and Address: KSP Theatre, Burpengary QLD Audition Registration: Click here to register Audition Pack: View via Canva Audition Requirements: Open to performers aged 7–18 years Prepare from provided character-specific materials (sent after registration) All auditionees will participate in: A Dance Audition (please wear comfortable clothes to move in) A Vocal Audition (for leads only: sing “Let It Go” from 0:00–1:26) Guide Vocals Backing Track A Cold Read Audition with script excerpts Ensemble-only performers do not need to complete a solo vocal audition Auditionees may audition for as many roles as they wish Scheduling: Performance Dates: Thursday 2nd October, 2025 – 7:00pm Friday 3rd October, 2025 – 7:00pm Saturday 4th October, 2025 – 2:00pm & 7:00pm Performance Venue: Burpengary State Secondary College Rehearsal Dates & Times Leads & Senior Ensemble Venue: St Benedict’s College, Mango Hill Time: Saturdays, 9:00am – 12:00pm Junior Ensemble Venue: KSP Theatre, Burpengary Time: Tuesdays, 4:45pm – 6:00pm Tech Rehearsals: Tuesday 30th September & Wednesday 1st October Creative Team: Paula-Mary Camilleri Teagan Fudge Eli J Ball Lauren Bull Chloe Kerr Required Age: 7–18 years Duration: Approx. 60–70 minutes Other Information: This is a tuition-based youth production, providing a supportive and professional experience for young performers. Fees: Show Fee: $240 Costume Fee: $50 Includes: Professional tuition with qualified musical theatre directors & choreographers Frozen Jr. Show Shirt Script and rehearsal materials Professional headshot One complimentary ticket Available Roles: Anna: Our main heroine – optimistic, brave, awkward, and full of love. She goes on a journey to save Elsa and their kingdom. Requires strong singing, acting, and comedic timing. Elsa: The Snow Queen. She’s poised, graceful, and powerful – but emotionally conflicted. Needs a confident performer with strong vocals and presence. Kristoff: A rugged ice harvester with a soft heart. Loyal, funny, and a bit awkward. Great opportunity for strong character acting and singing. Hans: Charming and smooth on the surface, but ultimately deceptive. Requires strong acting, good singing, and the ability to play both sincerity and villainy. Olaf: The magical snowman brought to life by Elsa’s powers. Innocent, funny, and warm-hearted. Needs a performer with great comedic instincts, physicality, and singing ability. Sven: Kristoff’s reindeer companion. Non-speaking but expressive and full of personality. Great physical acting and movement role – perfect for a dancer or physical theatre performer. King Agnarr: Father of Anna and Elsa. A caring and protective king who tries to shield his daughters from danger. Small but important singing and acting role. Queen Iduna: Gentle and wise mother of the girls. A nurturing presence with a warm singing voice and calm energy. Pabbie: A wise and mystical leader of the Hidden Folk. Requires clear speech, confident storytelling, and stage presence. Can be played by any gender. Bulda: Pabbie’s energetic and loving counterpart. Fun, affectionate, and comedic. Needs good comedic timing and big personality. Bishop: Performs Elsa’s coronation. A small but important featured role with a calm and regal presence. Young Elsa: Cautious, responsible, and loving. Young Elsa adores Anna but is scared of her growing magical powers. Middle Elsa: Beginning to feel the burden of her powers. Middle Elsa is more withdrawn and anxious than her younger self. Young Anna: A playful, energetic, and loving child. She's curious, excitable, and loves spending time with her sister Elsa. Middle Anna: The bridge between Young Anna and the older version. Wesselton: A comical and pompous visiting duke. Great comedic timing and physical comedy are a must. Oaken: The friendly shopkeeper who runs Wandering Oaken’s Trading Post. A hilarious cameo with a big personality – perfect for a bold performer. Ensemble: Includes townspeople, palace staff, Hidden Folk, castle guards, and more. Lots of singing, movement, and character acting. Featured lines and solos may be assigned. Dancer Ensemble: For those who love to move! These performers will be featured in choreographed sequences and add life and energy to the group numbers.

Title: The Foreigner Presented By: Growl Theatre Genre: Comedy / Farce Synopsis: Shy Englishman Charlie Baker arrives at a rural fishing lodge in Georgia, USA, desperately seeking peace, quiet, and escape from his problems. To help his friend avoid unwanted conversations, British Army demolitions expert Froggy LeSueur tells the lodge residents that Charlie doesn’t speak a word of English. This little white lie leads to a whirlwind of hilarious misunderstandings, unexpected confessions, shady dealings, and ultimately—heroic transformation.Larry Shue’s The Foreigner is a warm-hearted, fast-paced comedy that celebrates identity, bravery, and the unexpected ways we find connection—with a few chaotic twists along the way. Audition Details: Audition Date: Thursday 24 July 2025 Audition Time: 6:30pm Audition Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor Callbacks: Sunday 27 July, 1:30pm Audition Requirements: Prepare a comic monologue of your choice. Be prepared for cold reads from the script. Email a recent headshot and acting CV to: production@growltheatre.org.au Audition Pack: PDF Link Audition Registration: Online Form Available Roles: Charlie Baker (Male, 30–early 50s): A painfully shy Englishman who must adopt a “foreign” persona to avoid social interaction—until he discovers his confidence. Requires a British accent and a “made-up foreign” accent. Froggy LeSueur (Male, 30–early 50s): Charlie’s outgoing best friend, a British Army demolitions expert. Requires a Cockney accent. Betty Meeks (Female, 60+): The widowed, sweet-hearted owner of the fishing lodge. Speaks in a southern accent, and communicates loudly with the “foreigner”. Rev. David Marshall Lee (Male, mid 20s–30s): A charming Southern preacher hiding a dark agenda. Must appear sincere while being slyly manipulative. Speaks with a smooth southern drawl. Catherine Simms (Female, 20s–30s): A rich former debutante bored with her life. Engaged to David but rethinks everything after opening up to Charlie. Speaks with a southern drawl. Ellard Simms (Male, mid 20s): Catherine’s socially awkward younger brother who surprises everyone with his hidden potential. Speaks with a thick southern accent. Owen Musser (Male, mid 20s–50s): A bigoted local property inspector and co-villain of the play. Speaks with a heavy southern accent. Note: An accent coach will be provided to support actors with dialects. Scheduling: Performance Dates: 25, 26, 31 October, 1, 2, 7, 8 November 2025 Performance Times: Evenings: 6:00pm – 10:00pm (25, 31 Oct; 1, 7, 8 Nov) Matinees: 1:00pm – 5:00pm (26 Oct; 2, 8 Nov) Performance Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor, QLD, Rehearsal Dates: Starting Sunday 3 August 2025 Rehearsal Times: Mondays & Thursdays: 6:30pm – 9:30pm Sundays: 1:30pm – 5:00pm Backup Weekend: Cast must be available 14–15 November in case of postponements. Warnings: This play includes depictions of racist and intolerant attitudes, which are challenged within the narrative. Required Age: 16+ Directed by Julie Bray Production Website: https://growltheatre.org.au/auditions/ Other Information: Cast must become financial members of Growl Theatre ($30 annual membership). Most costumes are provided, but actors may be required to supply small items (e.g., socks, gloves, foundation/makeup basics). Please ensure full availability for performance dates and key rehearsals before auditioning.

Title: A Midsummer Night’s Dream Presented By: Villanova Players Genre: Comedy, Shakespeare, Fantasy Synopsis: Love and magic collide when four lovers and a group of clumsy actors enter a fairy-filled forest. Chaos, spells, and mistaken identities will have you laughing as mischievous fairies meddle with fate. Will love survive the enchantment? This joyful and energetic production will explore the theme of dreams—ranging from the whimsical to the nightmarish. Expect pillow fights, ethnic dancing, Eurovision music, bedroom-inspired sets, and a whole lot of fun, mischief, and magical mayhem. Audition Details: Audition Dates: Saturday 9 August 2025 Audition Time: 10:00 am – 5:00 pm (Hourly Sessions for Major Roles, 1:30 pm group session for Chorus) Audition Location and Address: The Hut, Jean Howie Drive, Balmoral Park, Morningside QLD 4170 Audition Registration: Book Your Audition Time via TryBooking Audition Pack: Download the Audition Pack Expression of Interest: Complete this Form Audition Requirements: For Major Roles (Oberon, Titania, Bottom, Puck, Theseus, Hermia, Helena, Lysander, Demetrius):Prepare a 1–2 minute comic monologue (preferably from Shakespeare, Wilde, Shaw, Coward, or similar). You’ll also read scenes with other auditionees. For Minor Roles & Chorus (Mechanicals, Fairies, Elves, etc):No monologue required. Be ready to sing, move, and read in a group audition session. The group audition is recommended at 1:30pm, but you may book a different time if needed. Available Roles: THE LOVERS Hermia (F, 20–30) – Bold, defiant, deeply in love with Lysander Lysander (M, 20–30) – Romantic, brave, determined Helena (F, 20–30) – Passionate, insecure, in love with Demetrius Demetrius (M, 20–30) – Stubborn, once in love with Helena, now pursuing Hermia THE COURT Duke Theseus (M, 30+) - Duke of Athens – planning to get married Queen Hippolyta (F, 30+) - Queen of the Amazons – about to wed Theseus. Egeus (Any Gender) - Hermia’s Father or Mother Philostrate (Any Gender, any age) - Theseus's Royal Wedding planner - Master of Revels – General Butler THE MECHANICALS Nick Bottom (M, any age) – Over-the-top weaver; comic gold Peter Quince (Any Gender, any age) – The “director” of the play Francis Flute (M, young man) – Forced into a dress, awkward but sweet Snug (Any Gender, any age) – Timid, scared of forgetting lines Tom Snout (M, any age) – Grows in confidence Robin Starveling (Any Gender, any age) – Irritated moonlight narrator THE SUPERNATURALS Oberon (M, 30+) – Fairy King Titania (F, 30+) – Fairy Queen Puck (Any Gender, 12+) – Mischievous and full of energy, preferably short Peaseblossom, Cobweb, Moth, Mustardseed (M/F, 8+) – Singing, dancing fairy attendants Scheduling: Performance Dates: Friday 7 November 2025 at 7:30 PM Saturday 8 November 2025 at 2:00 PM & 7:30 PM Sunday 9 November 2025 at 2:00 PM Friday 14 November 2025 at 7:30 PM Saturday 15 November 2025 at 2:00 PM & 7:30 PM Sunday 16 November 2025 at 2:00 PM Rehearsal Dates: Further Auditions (if needed): Monday 11th August 7:30pm - 9:00pm Call backs: Wednesday 13th August 11:00 – 1:00pm Public Holiday Workshops & Play readings: Sunday 24th August - Sunday 31st August Rehearsals start: Sunday 7 September 2025 Tuesdays & Thursdays: 7:00 pm – 9:30 pm Sundays: 11:00 am – 4:30 pm Rehearsals begin with Shakespeare games, then move into formal blocking, singing, and dancing. Warnings: Physical activity, energetic choreography, potential for minor staged combat, and loud music Required Age: 8+ (children welcome for Fairy Chorus roles) Director: by Leo Bradley Production Website: Villanova Players Auditions Other information: Even if you can’t make the audition date, you are encouraged to fill out the Expression of Interest form.

Title: When The Wind Blew: A New Australian Musical Presented By: Shine Performing Arts Academy Genre: Family-Friendly Original Australian Musical Synopsis: ‘When The Wind Blew’ is a heartwarming new Australian musical that follows Hazel, a young sugar glider who’s afraid of gliding. When a fierce storm separates her from her family, Hazel must summon the courage to journey home. Along the way, she meets a cast of uniquely Aussie characters—each helping her grow in bravery and confidence. With 22 original songs, dance numbers, theatrical magic, and tap dancing, this show is bursting with energy, colour, and charm for all ages. Audition Details: Required Age: 9+ Audition Date: Saturday 5th July, 2025 Audition Time: 8:30am–10:00am – Children (Ages 9–12) 10:30am–12:00pm – Ensemble 12:30pm–2:00pm – Featured Dancers 2:30pm–5:30pm – Individual Auditions Online auditions accepted by 5pm, Saturday 5th July Audition Location: Alchemy Studios, Albion Audition Self-Tape Due (if applicable): By 5pm Saturday 5th July to info@shineperformingartsacademy.com.au Audition Registration: Audition Registration Form Audition Pack: Download Audition Pack Audition Requirements CHILDREN’S AUDITIONS (AGES 9–12) For roles: Brenda, Tommy, Oliver, Liam, Sophie, Sophie S, and Children’s Ensemble Group dance call (movement capability assessment) Learn and perform a short song from the show Solo singing for those going for named roles Group singing for ensemble auditions Bring a colour headshot (non-returnable) Wear dance shoes (jazz preferred) and comfy movement clothes (no thongs or sandals) ENSEMBLE AUDITIONS (AGES 13+) Beginner & Intermediate dance call options Learn and perform a short song from the show (group presentation) Bring a colour headshot (non-returnable) Dance shoes and movement-appropriate clothing essential FEATURED DANCER AUDITIONS (AGES 14+) Advanced dance call Corner work: turns, leaps, kicks Optional tap combination for those with tap experience Bring a colour headshot and appropriate footwear (jazz and tap shoes) INDIVIDUAL AUDITIONS (Lead/Featured Roles 12+) Prepare two contrasting 1-minute (or 32-bar) sections of musical theatre songs Provide sheet music with clear cuts for accompanist, or bring USB/device with backing track Cold read may be required Bring a colour headshot (non-returnable) Dress to move, wear jazz shoes if you have them Scheduling: Performance Dates: Thursday 6th November 7:30pm Friday 7th November 7:30pm Saturday 8th November 2pm & 7:30pm Performance Location: StageHouse Theatre, Stafford Rehearsal Dates: Start: Thursday 10th July Rehearsal Times: Tuesdays and Thursdays: 7pm–9pm Sundays: 9am–1pm Rehearsal Location: St Benedict’s College, Mango Hill Not all cast called to all rehearsals. A detailed schedule will follow casting. Other information: Crew applications can be made by contacting: info@shineperformingartsacademy.com.au All cast aged 18+ must hold a valid Blue Card or be willing to obtain one. All cast must adhere to the Shine Performing Arts Academy Child Safety Action Plan. This is an unpaid community production. No fees required to participate. Tech Week begins Sunday 2nd November Callbacks: Sunday 6th July, 2pm–6pm at Alchemy Studios Albion All auditionees will be notified of outcomes by phone or email following auditions Available Roles: LEAD & PRINCIPAL ROLES HAZEL Female | Playing Age: 12–16 | Voice: Soprano - A young sugar glider struggling with her fear of gliding. Must deliver emotionally rich performances with strong vocal and acting ability. ZIGGY Male | 20–40 | Voice: Baritone/Tenor - A mysterious echidna with a comic edge. Strong comedic timing and physical character work needed. ARTHUR Male | 18–30 | Voice: Tenor - A shy spider seeking his courage. Requires expressive vocals and a natural flair for comedy. PEANUT Female | 18–30 | Voice: Soprano - A sparkly-hearted koala with tap skills and strong presence. Must combine showy dance ability with genuine emotion. DIESEL Male | 18+ | Voice: Tenor - A dingo with a dark, misunderstood edge. Strong actor with haunting intensity and powerful vocals. CURLY Any Gender | 18–30 - A clumsy, comedic curlew. Requires excellent comedic instincts and physical comedy ability. BRIELLE Any Gender | 18–30 - A sneaky goanna with mischief in their stride. Strong stage presence and cheeky charisma needed. COCO Female | 18+ | Voice: Soprano - A nurturing, wise wallaby who narrates the tale. Warm, maternal energy with strong storytelling through song. ADULT SUPPORTING ROLES HAZEL’S MUM Female | 25+ | Voice: Soprano - A loving, supportive figure with gentle warmth. HAZEL’S DAD Male | 25+ | Voice: Baritone/Tenor - Firm yet kind-hearted. Needs paternal warmth and emotional clarity. UNCLE STEVE Male | 25+ | Voice: Baritone/Tenor - Hazel’s energetic and loving uncle. Needs a joyful, light-hearted presence. STEWART Male | 18+ | Voice: Baritone/Tenor - A flamboyant Tiger Quoll. Over-the-top energy and boldness. MILLY / TILLY / LILLY Female | 18–30 - Three flirty Red Wattlebirds. Must be animated, sassy, and vocally confident. CHILDREN’S ROLES (9–12) BRENDA – Sassy dunnart TOMMY – Pompous myna bird OLIVER – Energetic lorikeet LIAM – Nerdy platypus SOPHIE – Nosy owl SOPHIE S – Kind lizard CHILDREN’S ENSEMBLE – Variety of Australian native animals. Must be enthusiastic movers and character-driven performers. FEATURED ENSEMBLE ROLES (18+) Grouped as Female 1–6 and Male 1–5, these roles include: Understudies for lead characters News reporters, Emus, Galahs, Wombats, Platypuses, Adventurers, and more Many of these roles have featured solo lines, quick character turns, and physical comedy Ideal for character actors who enjoy quick changes and versatility DANCERS’ ENSEMBLE (14+) A select group of strong dancers with jazz and musical theatre training. Tap, ballet, and acrobatics are a bonus. These roles will enhance musical numbers with high-energy choreography and may feature minor speaking/singing parts.

“I’m not crazy. I’ve just been in a very bad mood for the last 40 years.”   Southern Comfort at Its Finest In their milestone 75th year, Gold Coast Little Theatre presents a heartfelt and homely staging of Steel Magnolias , thoughtfully directed by Tony Campbell. Robert Harling’s 1987 play may be decades old, but its exploration of female strength and unshakeable friendship is as resonant as ever. The title says it all: these women are as delicate as magnolias, yet steely at their core. The dialogue is a treat, quick, clever, and full of Southern spice. Campbell’s direction honours the script’s emotional honesty, allowing humour, heartbreak, and humanity to bloom organically. He leans into a grounded, naturalistic style so that each emotional beat rises and falls with authenticity. The story is given room to breathe, with well-timed pauses, punchy laughs, and raw emotion. The conversations feel real: gossip mingles with wisdom, and laughter cushions sorrows. Set entirely in a beauty salon in small-town Louisiana, Steel Magnolias  offers a window into six women’s lives as they navigate weddings, babies, holidays, heartbreaks, and healing. At its centre is Shelby, a young woman with type 1 diabetes, and her strong-willed mother, M’Lynn, as she makes life-altering choices about marriage and motherhood. The play unfolds across four separate days at the salon. It begins on Annelle’s first day, which also happens to be Shelby’s wedding day. This is followed by a lively Christmas gathering, then a reunion some years later marked by life-changing news, and finally, a crisp autumn morning where the air is colder, the stakes are higher, and the bond between these women feels stronger than ever. The rhythms of their community—how news spreads, the small rituals, and the quiet acts of support—feel comfortingly familiar. I’ve never seen the film, but it’s no wonder this play is so cherished. This cast brings it to life with the perfect mix of timing, twang, and tenderness.   A Sisterhood in Sync It’s in the haven of Truvy’s store and the comfort of a salon chair that we meet the six women whose lives intertwine through years of celebrations, challenges, and growth. The ensemble is strong across the board, with each actor bringing unique depth to capture their character's authenticity. Corinne Le Claire delivers a searing, honest performance as M’Lynn: equal parts composed strength and vulnerability cracked open. Her climactic monologue, filled with shaking rage and an unbearable sorrow, is one of the production’s most powerful moments. The emotional crescendo lands like a punch to the chest, and what makes it even more affecting is how the rest of the cast responds to her anguish, as if they’re hearing it for the very first time. From the moment Olivia French steps onstage, she radiates optimism. Her portrayal of Shelby balances youthful hope with steely resolve, capturing the quiet complexities of invisible illness with grace. Whether she’s beaming about her wedding or standing her ground against her mother’s concern, her spirit is luminous, drawing everyone in. The chemistry between French and Le Claire is tender and layered, especially in the simmering tension that threads through their mother-daughter relationship. Katie Stargazer brings charm and warmth to Truvy, the beating heart of the salon. With big hair and an even bigger heart, she commands the space with a friendly, no-nonsense presence. As the glue that holds this group together, Truvy is always ready with a quip, a kind word, or a teasing nudge. Stargazer brings sparkle and steadiness to the role, anchoring the salon as both refuge and routine. Her evolving bond with Annelle is a beautiful slow burn that blossoms over time. As Annelle, Tianna Paget gives a beautifully restrained and grounded performance. Her character’s evolution—from shy and uncertain stylist to self-assured and devout community member—unfolds with organic ease (all while sporting gorgeous hair of her own). She uses posture, tone, and expression to chart this transformation, without requiring any big, dramatic moments. By the end of the play, Annelle feels like a fully realised, completely changed woman, and the subtlety of that shift makes it all the more powerful. Kate Peters OAM is a scene-stealer as the grumpy and glorious Ouiser. Her every entrance delights, and each line lands with perfect comedic bite. She masterfully balances exasperation with care, never tipping into caricature. Sharp, unpredictable, and endlessly entertaining, Peters garners some of the show’s biggest laughs with nothing more than a well-timed groan or a deadly look. Laney McLean is an elegant favourite as Clairee, bringing a calm poise that beautifully balances the more eccentric energies around her. McLean delivers some of the script’s most iconic one-liners as her dry wit slices through the conversation with surgical precision, while her character’s quiet wisdom and maternal presence add warmth to every scene she’s in.   Live Beauty in Action The entire play unfolds in Truvy’s bustling beauty salon, one of the most richly detailed sets I’ve seen in some time. Designed by Andrew Kassab and Lawrie Esmond, the staging is a masterclass in immersive world-building. Wood-panelled floors, working wash station, hair-drying hood, floral artwork, seasonal décor, and shelves stacked with beauty products—you can almost smell the conditioner and hairspray! It’s not just a backdrop—it’s a seventh character—a sanctuary, a confessional, a community hub. Adding an extra layer of authenticity is the live hairstyling and beauty work, overseen by Ann-Britt Riget during rehearsal. From nail painting and roller setting to full-on hair washing and blow-drying, everything happens in real time. This tactile pampering unfolds right before our eyes, grounding the show in realism and heightening our sense of intimacy with the space. A particularly clever directorial choice lies in how the transitions between the four acts are handled. Instead of elaborate or jarring set changes, stagehands—disguised as salon staff—quietly reset the space, spritzing counters and refreshing props as though preparing for a new day of clients. Paired with calming music, these transitions gently signal the passage of time while the actors change costumes with impressive speed. Andrew Borg’s lighting design subtly shapes the show’s emotional arc, shifting with the s easons and moods. During Shelby’s hypoglycaemic episode, the salon’s warm glow fades just enough to signal a chilling change. Later, as the ton e darkens, the light gradually drains from the space, echoing the heaviness carried by the characters. The lighting never demands attention—it's quiet, intentional, and responsive. Costumes, by Katie Stargazer, suit each character to a tee. From Truvy’s bold prints and chunky hoops to Clairee’s chic elegance and Shelby’s signature pinks, every outfit is a reflection of personality. Ouiser, of course, is delightfully unbothered—her wardrobe is as unpredictable as she is. These thoughtful costume choices give us a sense of who these women are before they even open their mouths. Simon Fox’s sound design gives the world a subtle but vital heartbeat. The soft hum of a radio, the bark of a dog, gunshots—these ambient cues ground us firmly in Chinquapin Parish, reminding us that the life extends beyond the salon’s walls, even as these women’s stories unfold within. One of the production’s quietest strengths is its ambiguous sense of era. While some elements suggest a modern setting—like the clothes and hairstyles—others, like landline phones, portable radios, and the unhurried pace of life, evoke a bygone time. The show floats in a kind of timeless in-between: familiar and unbound by specific dates. It’s a smart, subtle choice that allows the story’s emotional truths to resonate across generations.   A Love Letter to Womanhood At its heart, Steel Magnolias  is a celebration of community; the kind that flourishes over coffee, laughter, and a fresh hairstyle. It’s about chosen family, the people who show up for each other through joy and heartache. Though we never meet the men so often mentioned, their presence lingers in the women’s stories. More than that, we sense the hum of a whole town just beyond the salon walls, supporting, complicating, and ultimately loving. This isn’t a show of spectacle or grand drama. Its power lies in its truth. The women we meet in Truvy’s salon are gloriously human: funny, fierce, generous, complicated, and strong in ways that aren’t always loud. This show is a tribute to real women and real love. Their strength is in showing up. In listening. In knowing when to crack a joke and when to simply offer a hand. And the script walks that tightrope between comedy and drama with grace, teaching us how to laugh, how to cry, and how to do both at the same time. That final act—where the women gather again, bruised but unbroken—lands with profound emotional weight. The salon endures, just like they do. And in the smallest gestures—a friend brushing your hair, handing you a coffee, or making you laugh when you thought you couldn’t—the play offers gentle answers to life’s biggest questions. How do we keep going? The answer is simple: together. Nothing about this production feels overworked or performative. It’s lovingly observed, deeply grounded, and drawn with tender clarity. It moves with the rhythm of real conversation, and in doing so, it feels less like theatre and more like overhearing a conversation at your hairdresser's, eavesdropping on women who remind you of your mum, your friends, maybe even yourself. It is theatre that is lovingly crafted from top to bottom. Like the best kind of haircut, it leaves you feeling a little lighter, a little braver, and a little more yourself. Now playing until 14 June

The Children By Lucy Kirkwood Directed by: Heidi Gledhill Produced by: A Moveable Theatre and Amanda McErlean Presented by: PIP Theatre At PIP Theatre | 4th – 21st June 2025 “Hi! Are you well? Would you like to come and get cancer with me?” Lucy Kirkwood’s  The Children invites us into a world that’s both domestic and apocalyptic; where former colleagues sip wine, air old grievances, and quietly confront the question of what we owe the next generation. Inspired by the real-world echoes of the 2011 Fukushima disaster, this “nuclear-powered dark comedy” is less boom and more slow burn—haunting, human, and surprisingly intimate.   The story centres on Hazel and Rob, two retired nuclear engineers living in quiet isolation near a radioactive exclusion zone after a natural disaster-turned-nuclear catastrophe reshaped their world. Their familiar, slightly strained routine is disrupted by the unexpected arrival of Rose—an old colleague they haven’t seen in nearly forty years, and who they’d long assumed was dead. What begins as a small-talk reunion quickly shifts into a gripping moral standoff, as Rose presents a proposition that forces Hazel and Rob to confront uncomfortable truths about sacrifice, accountability, and the legacy they’ll leave behind.   Despite the enormous, almost apocalyptic backdrop, The Children  is a deeply personal conversation between old friends; albeit one steeped in decades of grief, guilt, resentment, and tension simmering just beneath the surface. The three actors, Amanda McErlean (Rose), Julia Johnson (Hazel), and Terry Hansen (Rob), deliver a delicious dynamic that captures the emotional complexity of their characters intertwined pasts, unresolved present, and uncertain future. Julia Johnson’s performance as Hazel is quietly magnetic—measured and meticulous, with an undercurrent of anxiety that never quite settles. She perfectly captures Hazel’s fierce pragmatism and subtle righteousness, especially as the character tries to maintain order in a world that’s long since spiralled out of her control. Her blend of sharp intelligence, self-preservation, passive-aggressive wit, and weary caution makes Hazel both frustrating and deeply human. Her monologue near the end is phenomenal: tense, real, and emotionally layered. Hazel’s vivid recounting of the disaster—the earthquake, tsunami, the reactors exploding, and the chaos of returning to a home swallowed by water and mud—was incredibly affecting. It brought back sharp memories for me. No, I wasn’t in Japan, but my own home went under in the 2011 Brisbane floods, and I’ll never forget the mess, the smell, and the overwhelming sense of displacement. Though the play’s catastrophe is fictional and set in Australia, its emotional truth hit me like a wave. Hazel and Rob abandoned their home, their farm, their cows, and their former lives—feeling too old and too overwhelmed to start again. Amanda McErlean’s Rose arrives like a ghost from the past with a proposition that’s hard to refuse, and even harder to accept. Amanda plays her with silent intensity, carrying the heavy guilt of a generation who left behind more mess than solutions. Her delivery of, “We can’t have everything we want just because we want it,” is one of several truth bombs that lingers from the script. I could truly see both sides of the debate between her and Hazel. I don’t know what I would do in their position either. The two women are fascinating opposites: Hazel, clinging to the comforts of routine and the illusion of control; Rose, desperate to do something meaningful before it’s too late for “the children.”   Terry Hansen’s Rob provides comic relief and emotional grounding. His natural charisma and dry humour are perfectly executed, adding levity without ever undercutting the gravity of the story. I especially loved his witty exchanges with Hazel; their affectionate insults landing like a long-married couple who’ve weathered both disasters and dinner parties. He also injects a surprising tenderness to the role, stepping in with emotional steadiness when it counts. On a personal note, I used to listen to Terry every morning on the 97.3 breakfast radio show during my hour-long drive to high school, so seeing him live on stage felt like a nostalgic little thrill. His comic timing landed beautifully—especially with the older audience, who laughed knowingly at many of his jabs about marriage and ageing. Without consistent power or clean water, the characters survive on salads, bread, and homemade wine (which fuels much of the passive-aggressive digs between the women). The dialogue is tightly written, layered, and rich with subtext. Much remains unspoken, which makes the slow reveal of emotional history and long-held resentments all the more powerful. Themes of environmental responsibility, intergenerational sacrifice, and the creeping burden of ageing permeate the conversation. The set design by Helena Trupp complements the tone perfectly. The simple cottage interior feels lived-in and homely, yet oddly wrong, being perched on the edge of a radioactive no-go zone. Her beautifully designed video backdrop of a changing sky and looming power lines serves as a subtle reminder of the radiation and electricity still lingering in their world. Director Heidi Gledhill maintains a deliberate yet engaging pace, allowing the characters to develop and the tension to build gradually without feeling sluggish. One of the play’s most piercing lines is delivered by Rob: “You have a duty to that girl to fuck off at some point.” It’s a brutal and candid statement—a reminder of our mortality and the terrifying reality that we won't always be there to guide and protect our loved ones. By the time the ending arrives, equally open-ended, bleak, and hopeful, it feels deeply earned. The Children doesn’t spoon-feed you answers. It simply hands you the weight of its question and lets you carry it out of the theatre. It asks what we owe future generations, what we’re willing to give up, and whether any choice we make today can truly undo the damage already done. If you’re drawn to smart, character-driven drama with moral complexity and a sprinkle of dark humour... this is for you. Tickets Available Here Photography by Kris Anderson (Images by Anderson) and Naz Mulla Photography