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Title:   Shrek KIDS Presented By:  BG Performing Arts Genre:  Musical Theatre / Family Synopsis: Based on the DreamWorks film and Broadway hit, Shrek KIDS  brings everyone’s favourite green ogre to the stage in a heartwarming, hilarious adventure. When Shrek’s swamp is overrun by fairytale misfits, he sets off with Donkey to confront the villainous Lord Farquaad and rescue Princess Fiona. Along the way, the unlikely heroes discover that true beauty comes from within — and that even ogres can find their happily ever after! Audition Date:  Sunday 14 December 2025 Audition Time:  9:00am – 12:00pm (sign-in from 8:45am) Audition Location and Address:  BGPA Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable):  Online video submissions accepted for those unable to attend in person (email info@bgperformingarts.com ). Audition Requirements: Try-outs are required for all performers wishing to be considered for lead or featured roles. All singing, dance, and acting components will be taught on the day. Performers may prepare one monologue from the Try-Out Pack (Shrek, Fiona, Donkey, Pinocchio, or Farquaad). Jazz shoes recommended but not essential. Audition Registration: Complete the online registration form  prior to audition day. A performer will not be able to audition without registering and paying the participation fee. Audition Pack: All monologues, materials, and music are available via Dropbox Performance Dates:  Saturday 17 January 2026 Performance Times:  2:00pm & 5:00pm Performance Location:  Everton Park SHS Performing Arts Centre, 668 Stafford Rd, Everton Park QLD 4053 Rehearsal Dates: Monday 12 January – Thursday 15 January 2026 (Bowen Hills Studio) Friday 16 January 2026 (Everton Park SHS) Rehearsal Times:  9:00am–3:30pm (Mon–Thu) / 9:00am–5:30pm (Fri) / 10:00am–7:00pm (Sat – performance day) Performer Age:  6–12 years Creative Team: Director/Choreographer:  Bella Gordon Musical Director:  Kate Baxter Associate Director:  Zander Hutson Production Website:   www.bgperformingarts.com/audition-information-shrek-the-musical info@bgperformingarts.com Other Information: Cost: $400 (includes rights, royalties, staff, set, props, and venue hire). Additional costume hire fee may apply. Participants must be fully available for all rehearsals and performances. Available Roles/Character Breakdown: Shrek  – The big-hearted ogre with a roar and a heart of gold. Fiona  – The feisty, funny princess with a secret. Donkey  – Shrek’s loyal, talkative sidekick. Lord Farquaad  – The tiny villain with huge ambitions. Dragon  – A fiery guardian with a big voice and even bigger personality. Pinocchio , Big Bad Wolf , Fairy Godmother , Gingy , Three Little Pigs , Wicked Witch , Peter Pan , The Three Bears , Fairy-Tale Creatures , and Ensemble

Title:   Grease: Young@Part Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre / Comedy Synopsis: Welcome to Rydell High, where the 1950s rock and roll spirit is alive and well! Join Sandy, Danny, and the gang in Grease: Young@Part  — a youth-friendly adaptation of the iconic musical featuring all the fun, energy, and hit songs you know and love. With numbers like “We Go Together,” “Summer Nights,” and “Greased Lightning,” this show celebrates teenage friendship, identity, and finding your voice. Audition Date:  Saturday 29 November 2025 Audition Time:  1:00pm – 5:00pm Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Prepare a monologue from the Grease  audition pack. Learn the required song from the provided YouTube link. Dance choreography will be taught on the day. Audition Registration: Book via SMS to 0438 896 436 (Debbie) and email your completed registration form to brisbanejuniortheatre@gmail.com Audition Pack: Download Monologue & Song Packs Performance Dates:  19–20 December 2025 Performance Location:  Emerge Church, 1 Coorparoo Road, Warner Rehearsal Dates:  15–19 December 2025 Rehearsal Times:  9:00am–3:00pm daily Performer Age:  13+ Production Website:   brisbanejuniortheatre.com.au Other Information: Fee: $425 (includes costumes, scripts, insurance, staff, and pizza dinner) Everyone who auditions will be included in the cast. Optional production T-shirt available for purchase. Available Roles: Danny Zuko – charming leader of the Burger Palace Boys Sandy Dumbrowski – sweet and spirited new girl Rizzo – confident, sharp-tongued leader of the Pink Ladies Kenickie – tough but loyal friend Frenchy – beauty school hopeful Marty – flirty and fun Pink Lady Jan – bubbly and funny Pink Lady Doody, Roger, Sonny – Danny’s sidekicks Patty Simcox – perky cheerleader Eugene – awkward classmate Teen Angel, Miss Lynch, Cha-Cha, and ensemble roles

Title:  Disney’s The Aristocats KIDS Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre / Family Synopsis: Based on the beloved Disney animated film, The Aristocats KIDS  tells the story of Duchess and her kittens, who are kidnapped by their greedy butler and left stranded far from home. With the help of the charming alley cat Thomas O’Malley and his jazzy friends, they set out on a heartwarming adventure back to Paris. Filled with laughter, music, and friendship, this “purr-fectly” delightful show features toe-tapping favourites like “Ev’rybody Wants to Be a Cat.” Audition Date:  Saturday 29 November 2025 Audition Time:  1:00pm – 5:00pm Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Prepare a monologue from the Aristocats KIDS  monologue pack (younger children may memorise a few lines). Learn the required song listed on your monologue sheet. Dance choreography will be taught on the day. Audition Registration: Book via SMS to 0438 896 436 (Debbie) and email your completed registration form to brisbanejuniortheatre@gmail.com Audition Pack: Download Monologue & Song Packs Performance Dates:  19–20 December 2025 Performance Location:  Emerge Church, 1 Coorparoo Road, Warner Rehearsal Dates:  15–19 December 2025 Rehearsal Times:  9:00am–3:00pm daily Performer Age:  5–12 years Production Website:   brisbanejuniortheatre.com.au Other Information: Fee: $425 (includes costumes, scripts, insurance, staff, and pizza dinner) Everyone who auditions is included in the cast. Optional production T-shirt available for purchase. Available Roles: Duchess – elegant mother cat Thomas O’Malley – street-smart alley cat Marie, Berlioz, Toulouse – Duchess’s playful kittens Edgar – scheming butler Roquefort – loyal mouse friend Scat Cat & Alley Cats – jazzy musicians Madame – kind owner of the cats Geese Sisters, Dogs, and other Parisian animals

Title:   The Mirror Crack’d Presented By:  Centenary Theatre Group Genre:  Mystery / Drama Synopsis: In this gripping new stage adaptation of Agatha Christie’s classic whodunit, Miss Marple finds herself entangled in a web of lies, tragedy, and Hollywood glamour when a film star’s quiet village life turns deadly. The Mirror Crack’d , adapted by Rachel Wagstaff, combines Christie’s signature intrigue and wit with a rich cast of eccentric villagers, fading movie stars, and dark secrets lurking beneath the genteel surface of St Mary Mead. Audition Date:  Saturday 15 November 2025 Audition Time:  10:00am – 1:00pm Audition Location and Address:  Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD 4068 Audition Requirements: Cold readings from the script (provided on the day). Familiarity with the novel or film adaptations is recommended. British and American accents required as noted per character. Please ensure full availability for performance dates before auditioning. Audition Registration: Contact Director Alison Lees for more information or to request a script: alisonlees4305@gmail.com | 0408 581 311 Performance Dates:  14 February – 8 March 2026 Performance Location:  Chelmer Community Centre Rehearsal Dates & Times: Begin the week after auditions (with a read-through and meet & greet). Two evening rehearsals per week + Sunday sessions (morning or afternoon). Rehearsals will continue through the Christmas/New Year period, with a one-week break between Christmas and January 2. Location: Downstairs Studio, Chelmer Community Centre Warnings:  Mild adult themes, murder mystery content Performer Age:  20s–80s (varies per role) Director:  Alison Lees Production Website:   www.centenarytheatre.com.au/auditions Email:   enquiry@centenarytheatre.com.au Available Roles / Character Breakdown: Miss Jane Marple (F, 60–80s)  – The iconic amateur sleuth. Observant, witty, and quietly commanding. British accent essential. Chief Inspector Dermot Craddock (M, 40–50)  – Polished British gentleman detective; familiar with Miss Marple’s methods. British accent essential. Dolly Bantry (F, 50–70)  – Miss Marple’s spirited and gossip-loving friend. British upper-class accent. Marina Gregg (F, 40–50, plays younger)  – Glamorous but fading Hollywood actress; charming yet tragic. American accent essential. Jason Rudd (M, 30–40)  – Marina’s younger, devoted husband. American accent essential. Ella Zielinsky (F, 30–40)  – Marina’s efficient but emotionally entangled secretary. American accent essential. Heather Leigh (F, 40+)  – Starstruck fan with limited intelligence but boundless enthusiasm. Working-class British accent. Cyril Leigh (M, 40–50)  – Heather’s down-to-earth husband; patient, practical. Working-class British accent. Cherry Baker (F, mid-20s)  – Miss Marple’s inexperienced and easily distracted young maid. Working-class British accent. Lola Brewster (F, mid-20s)  – Young American actress and Marina’s on-screen rival. American accent essential. Giuseppe Renzo (M, 40–50)  – Loyal Italian butler and Marina’s longtime protector. Italian accent essential.

Title:   EPIC: Love Stories – A Valentine’s Cabaret Presented By:  Vox Theatre Arts Genre:  Cabaret / Musical Theatre / Burlesque Synopsis: Step into an evening of passion, laughter, and romance as Vox Theatre Arts presents EPIC: Love Stories  — the first in their new cabaret series, Love Written in the Stars . This dazzling Valentine’s showcase brings together sixteen duos and ensemble numbers that celebrate love in all its forms — from the comedic to the sensual, the classic to the modern. Expect dynamic performances, hilarious chemistry, powerful vocals, and sultry choreography as performers embody some of the most iconic couples ever seen on stage and screen — from Romeo & Juliet  to Rose & Jack . Video Auditions Due:  Sunday 9 November 2025, 5:00pm Callbacks & Offers:  Monday 10 November 2025 Audition Location: Online submission (via Google Form below) Audition Requirements: Vocalists: Prepare two contrasting love songs (approx. 1 minute each) showing range, humour, and storytelling ability Acceptable styles: Contemporary Musical Theatre, Jazz, or Popular Music Submit via YouTube or Google Drive link Dancers / Movers: Choose either “Mover” or “Dancer” category Learn the relevant audition choreography: Dance Audition Folder Film and upload your routine via YouTube or Google Drive link Submit your audition via form: EPIC: Love Stories Audition Form Headshot (for socials/program) Artist résumé (PDF or Word, max 10MB) Known scheduling conflicts Blue Card status Audition Pack: EPIC: Love Stories Audition Pack (PDF) Rehearsal Dates: First Rehearsal:  Sunday 16 November 2025 Regular Schedule:  Tuesdays, Thursdays & Sundays Photo/Media Day:  Sunday 23 November 2025 Christmas Break:  8 December 2025 – 10 January 2026 Rehearsals Resume:  Sunday 11 January 2026 Tech Week:  9–12 February 2026 Performance Dates: Friday 13 February 2026 and Saturday 14 February 2026 Warnings: Contains adult themes, sexual references, intimacy choreography, and potential mild nudity. Performer Age:  18+ Creative Team: Director:  Rhona Bechaz – Artistic Director of Vox Theatre Arts Choreographer:  Tayla Simpson Production Website:   voxtheatrearts.com Email:   info@voxtheatrearts.com Other Information: This is an amateur, volunteer-based production Vox membership fee for 2026: $25 (due by first rehearsal) All performers must consent to Vox’s media and promotional policies The team encourages performers of all genders, abilities, and backgrounds to apply Rehearsal absences or tardiness may result in recasting Available Roles: MC (Character / Host):  Charismatic, comedic storyteller connecting the evening’s love stories Vocalists:  Dynamic singers comfortable with humour, character, and emotional storytelling Dancers:  Confident performers in cabaret or burlesque-inspired choreography Movers:  Performers with basic movement skills and strong character energy Ensemble:  Flexible performers appearing across multiple duos and group numbers

Title:   The Sound of Music: Youth Edition Presented By:  ROAR Academy Genre:  Musical Theatre / Youth Production Synopsis: The hills are alive once again!ROAR Academy proudly presents The Sound of Music: Youth Edition , a timeless classic that follows the spirited Maria Rainer, a young postulant whose love of life and music transforms the Von Trapp family. Set in Austria on the eve of World War II, this beloved Rodgers & Hammerstein musical celebrates joy, courage, and the healing power of song. Featuring iconic numbers such as Do-Re-Mi , My Favourite Things , Edelweiss , and Climb Every Mountain , this youth edition offers an unforgettable experience for young performers—training, teamwork, and professional-level performance all rolled into one magical production. Audition Dates: Thursday 6 November 2025, 5:00–8:00pm Monday 10 November 2025, 6:00–8:00pm Audition Location: Theatre 102, 102 Anzac Avenue, Redcliffe Audition Requirements: No preparation required unless auditioning for a lead role. All auditionees will learn sections of My Favourite Things  and Do-Re-Mi  during the session. Lead auditions should be familiar with the following songs: Maria – The Sound of Music Mother Abbess – Climb Every Mountain Captain Von Trapp – Edelweiss Liesl & Rolf – Sixteen Going on Seventeen Audition Registration: Email info@roaracademy.com  with the following details: Name Age Role auditioning for Parent contact details (email & mobile) Preferred audition session Rehearsal Dates & Times: 13th November 2025 - February 6th, 2026 All rehearsals at Theatre 102 unless otherwise noted. Performance Dates: Redcliffe Entertainment Centre Sat 7 Feb – 11:00am (Salzburg Cast) Sat 7 Feb – 3:00pm (Salzburg Cast) Sun 8 Feb – 11:00am (Nonnberg Cast) Sun 8 Feb – 3:00pm (Nonnberg Cast) Cost: $420 total (includes training, costumes, scripts, show shirt & professional headshot) Discounted rate: $350 if paid in full at audition (save $70) Payment plan: 3 instalments of $140 (Nov 10, Dec 10, Jan 10) 20% sibling discount available Limited scholarships offered for financial hardship cases Warnings: Family-friendly musical, suitable for all ages Performer Age: Ages 7–18 Creative Team: Director:  Madeleine Johns Musical Director:  Rhonda Davidson-Irwin Choreography & Workshops:  ROAR Academy Creative Team Production Website: www.roaracademy.com Contact: info@roaracademy.com | Madeleine – 0488 103 759 Available Roles / Character Breakdown: Maria  – Spirited postulant who brings music and warmth to the Von Trapp family Mother Abbess  – Strong, wise, and nurturing; leads the nuns of Nonnberg Abbey Captain Georg Von Trapp  – Stern but loving naval officer and widower Liesl Von Trapp  – 16, romantic and idealistic Rolf Gruber  – 17, telegram boy and Liesl’s love interest Von Trapp Children: Friedrich (14), Louisa (13), Kurt (10), Brigitta (9), Marta (7), Gretl (youngest) Nuns & Postulants:  Sister Berthe, Sister Margaretta, Sister Sophia Max Detweiler  – Family friend and opportunist Frau Schmidt  – Housekeeper Franz  – Butler Herr Zeller  – Nazi supporter Featured Ensemble: Baron Elberfeld & Party Guests, New Postulant, Admiral von Schreiber, German Officials, Saengerbund Trio, Fraulein Schweiger

Title:  The Vicar of Dibley Presented By:  Villanova Players Genre:  Comedy (Stage Play) Synopsis: Based on the beloved BBC sitcom, this stage adaptation stitches together iconic moments from Series 1 & 2—from Geraldine’s first parish meeting and Lent mishaps to the joyous finale of Alice and Hugo’s wedding. Expect all your favourite characters, cheeky village politics, and plenty of heart. Audition Date:  Sunday 9 November 2025 Audition Time:  10:30am (other times by arrangement) Audition Location and Address:  The Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills QLD 4170 Audition Requirements: Cold reads from the script (PDF available on request). Characterisations should reflect the spirit/essence of the TV portrayals while allowing your individuality. You’re encouraged to review episodes (freely available online) to capture each character’s core. Audition Registration: Download Audition Pack Book an Audition Time Expression of Interest (if you can’t attend in person) Enquiries: Liz Morris – unclaimed.treasure2@gmail.com Performance Dates:  6–15 February 2026 Performance Times: Fri 6 Feb – 7:30pm Sat 7 Feb – 2:00pm & 7:30pm Sun 8 Feb – 2:00pm Fri 13 Feb – 7:30pm Sat 14 Feb – 2:00pm & 7:30pm Sun 15 Feb – 2:00pm (followed by bump-out) Performance Location:  The Ron Hurley Theatre, Seven Hills Rehearsals Commence:  Tuesday 18 November 2025 Rehearsal Times: Tuesdays 7:00–9:30pm Thursdays 7:00–9:30pm Sundays 11:00am–4:00pm Possible weekday daytime calls if cast are available Performer Age:  18+ (playing ages per character list below) Director:  Elizabeth (Liz) Morris Production Website:   https://www.villanovaplayers.com/auditions Other information: Villanova Players welcomes participants of all backgrounds and experience levels, and encourages applications from marginalised communities. Available Roles/Character Breakdown: Geraldine Granger  – Female, 35–50 Alice Tinker  – Female, 30–35 David Horton  – Male, 55–70 Hugo Horton  – Male, 30–40 Jim Trott  – Male, 50+ Owen Newitt  – Male, 40–50 Frank Pickle  – Male, 50+ Letitia Cropley  – Female, 60+

Presented by : Hanson Creative at BackDock Arts, Fortitude Valley Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the novel by Rick Riordan “Out there in the real world, that’s where the real monsters are” (…but thank god for musicals, right?!). Hanson Creative’s one-weekend run of The Lightning Thief  packed a thunderbolt’s worth of enthusiasm into the tiniest of spaces. A five-piece live band shared the stage, demigods swung swords within arm’s reach, and audience members ducked stray toilet paper (you had to be there). If you thought your high-school years were wild, try surviving algebra and  monsters. That’s the world of The Lightning Thief , a favourite for youth theatre companies. This plucky new crew at Hanson Creative hurled themselves into the full version with high-octane enthusiasm. With a band squeezed beside a set barely big enough to fit a trident, it was the theatrical equivalent of a can of red bull! For anyone not fluent in Percy Jackson lore (oops, guilty), the story can feel like being tossed into Mount Olympus without a map. Luckily, Percy is just as clueless. He's an irregular kid who learns he’s the son of Poseidon, sent to a camp for demigods, and accused of stealing Zeus’s lightning bolt. So now, he and his friends Grover and Annabeth are off on a hero's quest to the Underworld to clear his name and save his mom. Talk about family drama! Right from the opening number, the stage was electric (pun absolutely intended). Kyle Armstrong embodied Percy Jackson — youthful, cheeky, and entirely convincing as the reluctant hero. The only hiccup? In real life, Kyle seemed just a tad too cool ha! His big number “Good Kid”  soared (even when his mic didn’t), showing off a rich belt, crisp articulation, and emotional honesty that anchored the show. Aimee Sheather’s take on Annabeth was smart, self-assured, and relatable. She captured that fierce daughter-of-Athena energy, and her performance of “My Grand Plan”  was heartfelt and optimistic, even when she seemed a bit nervous. Extra credit for the clever sword sheath built into her shorts — both practical and perfectly in character. Elton Jun’s Grover was the crowd's sweetheart: the cheerful and loyal satyr (a boy with goat legs and horns), overflowing with charm and cuteness. Even when his microphone misbehaved, his warmth carried every moment. His lead in “Drive”  was a highlight — upbeat, funny, and just the pep Act Two needed. He's certainly the type of friend you'd want by your side on a monster-slaying road trip. Ruby Gleeson proved herself the ensemble MVP, morphing from a shrieking Fury, to the swaggering Clarisse, to the hilariously unbothered Aussie receptionist Charon of the underworld. Her “Put You in Your Place”  was fiercely fun, and “D.O.A.”  was a meet-and-greet with the afterlife's VIPs featuring Mozart, Janis Joplin, and Kurt Cobain. Mia Lierich brought gentle warmth in the role of Percy’s mother, Sally Jackson, serenading us with the beautiful ballad “Strong” with sincerity and a lovely vocal tone. Later, she did a complete 180, channeling her inner snake lady as Medusa during “Lost!” Anna Ryan, who also choreographed, was a total chameleon. She stepped in late as the grumpy Mr. Dionysus and made the role her own, to the point where I didn't recognise her at first! Even if the vocal range in "Another Terrible Day" sat a bit low for her natural tone, her commitment sold it. Later, she returned as Thalia in the haunting “Tree on the Hill” and danced like nobody was watching, as Elton sang in one of the most unexpectedly touching moments. Anna's group choreography throughout was crisp and fun, using the small space to its fullest potential. Reid McWha pulled off a juggling act with Mr. Brunner and Chiron, complete with a tail (thanks to a ponytail wig) that transformed him into a centaur; a guaranteed laugh every time he trotted by. Henry Dollar delivered a beautifully sung performance as Luke while strumming “The Campfire Song”  on guitar, only to later surprise us with a fiery cameo as Ares. Thomas Sinclair rounded out the ensemble with boundless energy and some scene-stealing comedic antics. And Poseidon, rocking a Hawaiian shirt and a laid-back LA surfer vibe, had me obnoxiously cackling (“The god of drama , am I right?” he quipped about Zeus). Director Emma Hanson led a five-piece band through Rob Rokicki’s notoriously tricky score. On the night I attended, she conducted beside the keyboard for visibility, meaning the cast couldn’t actually see her — but you’d never have known because they stayed tight throughout. Plus, I don’t know the score well enough to know any different! Yes, there were a few moments where instruments or vocals got a little lost in the mix, but given the live setup and limited space, who can blame them? BackDock’s intimate setting is both a blessing and a curse. The sound was powerful (at times too powerful that I half-considered earplugs during the group vocals), but the proximity also meant we caught every expression. When mics failed, the performers carried just fine. Visually, the production was resourceful. Minimal set, maximum imagination, and an especially cool lighting effect lit up the trident reveal. Was it confusing at times for the uninitiated? Sure. Was it ambitious, chaotic, and gloriously scrappy? Absolutely. The Lightning Thief  felt like a Starkid show colliding with a Greek myth. Like Percy himself, this cast faced difficult odds, dodged a few technical monsters, and still came out heroes.

Presented by:  Queensland College of Dance Venue:  La Boite Theatre Directors:  Tim Hill & Jacqui Devereux Musical Director:  Ben Murray Choreography:  Tess Hill Assistant Choreographer:  Lauren Bensted Costume, Makeup & Wigs:  Lucia Umpierrez, Megan Cattel & Eulla Cadoo Dagley Set & Props:  Tamsyn Doyle & Lily Davis Steer Book by  Fred Ebb & Bob Fosse | Music by  John Kander | Lyrics by  Fred Ebb   Few musicals are as instantly recognisable or as intimidating to stage as Chicago.  Set in the glitzy, gin-soaked 1920s, it tells the story of Roxie Hart, a wannabe vaudeville star who shoots her lover and finds fame for all the wrong reasons. In prison she meets nightclub sensation Velma Kelly, already notorious for killing her husband and sister, and the two compete for the spotlight under the silver-tongued showmanship of lawyer Billy Flynn. It is a cynical, sexy satire of fame, justice, and the line between murder and marketing — and after fifty years on stage, it is still as sharp as a stiletto! Under the direction of Tim Hill and Jacqui Devereux , Queensland College of Dance delivered a fresh, fast-paced and fabulously polished production that captured the show’s signature style and bite. Rather than reinventing the wheel (or the garter), Hill focused on what makes Chicago  timeless: razor-sharp choreography, tongue-in-cheek humour and a pace that never lets up. Performing in the round at La Boite Theatre was an inspired choice — in fact, I’d argue it’s the only way to stage Chicago . The raised centre platform allowed the action to unfold from every angle, while the cast made excellent use of the aisles (there are no wings in this venue, after all, so they made the space part of the spectacle). The twelve-piece orchestra, led by Ben Murray , occupied the rear of the stage like a jazz-age powerhouse. The brass section in particular was outstanding, and the sound balance through the microphones remained clear throughout. The pre-show set the mood perfectly, with the ensemble slinking into the space as the audience settled, welcoming us into their smoky jazz club world. Each performer made their own acting choices, so my eyes were darting around trying to take it all in. Then, with a crisp “five, six, seven, eight,” the band struck up that iconic overture and the night took off. All That Jazz  was sultry, precise and bursting with ensemble energy. The vocals blended into a lush wave of sound, never overcrowding the mix. The dancers captured that delicious restraint that defines Fosse: clean lines, controlled movement and a slow burn of sensuality. Tess Hill’s choreography was tight, stylish and consistently well executed, particularly in Cell Block Tango,  where the red lighting, storytelling and full-cast power hit like a freight train during the final chorus. Demi-Ann Klocek  was sensational as Velma Kelly, a bona fide triple threat who strutted across the stage with the confidence of someone who knows exactly where every spotlight will hit. Her big solo I Can’t Do It Alone  was part vaudeville, part cardio marathon, showcasing her jazz, tap, and acro skills without a hint of breathlessness by the end (if it were me, I’d have been flat on the floor by verse two!). Bella Cox  infused Roxie Hart with feisty, cunning allure, playing her as a short-tempered firecracker with a dazzling smile and a knack for manipulation. Her acting felt honest and instinctive, and her comedy was spot-on. While her lower range occasionally disappeared beneath the orchestra, her bright upper register more than made up for it. My Baby and Me  was a sparkling highlight, complete with her perfectly synchronised dancers, and she delivered her solo Roxie  with devilishly shameless sass. Claudia Heffer’s Billy Flynn was all charm and cheek with just the right hint of smarm — the kind of lawyer who could talk their way out of anything. She oozed confidence from her first entrance, tap dancing with flair and singing with a rich, confident tone. I loved the speed and precision of her delivery, especially in Both Reached for the Gun,  where her nasal “ventriloquist dummy” tone was spot-on. The dancers in All I Care About  were a vision, trotting around her like glamorous showgirl peacocks, feathers fluttering in perfect formation. While the song could have used a little more punch in the final high notes, Claudia made a dazzling vocal comeback in Razzle Dazzle,  bathing the courtroom in sequins, feathers, and pure Broadway bravado. With all its tricks, sparkle, and swagger, it was one of the show’s most spectacularly staged sequences. Luka Kovac  oozed authority and surprising warmth as Matron “Mama” Morton. When You’re Good to Mama  sat a little low for her range, but she still radiated confidence, and belted the roof off when required. Laine Devoy  was ideal casting as Amos Hart; his Mister Cellophane  was heartfelt and beautifully delivered, a professional-level performance that earned genuine empathy. Scarlet Yadlosky  as Mary Sunshine  was a riot: operatic, unhinged and unafraid of looking ridiculous (and I mean that as high praise). The Merry Murderesses — Kiyah Bourke, Georgia McNamara, Rhiannon Baird, Kate Hollis and Jess Wardle — were dynamite. Cell Block Tango  was electric with the blood-red lighting, precision movement and whipcrack fire on every “he had it coming!” Visually, this production was stunning. The lighting design captured every mood: sultry reds for the murderesses, cool blues for the prison scenes, and golds for the vaudeville glamour. The costume team, led by Lucia Umpierrez, Megan Cattel and Eulla Cadoo Dagley , nailed the black-lingerie aesthetic with sheer fabrics and sharp tailoring. I loved the varied textures, bold red lips, and perfectly secured wigs (always a win). A few small tweaks could have elevated the lead costumes even further: a flapper silhouette or detailed bodysuit for Velma would have complemented her athletic, star-quality style more than the bare black, and a slip or chemise might have saved Roxie from those constant mid-scene adjustments to pull the dress down and fix the sleeves. Minor notes for comfort rather than critique. The set by Tamsyn Doyle and Lily Davis Steer was smart and functional, with the raised centre platform giving height and shape to the action. Props were minimal and purposeful, enough to tell the story without cluttering the stage. The trial scene was a triumph of direction and blocking: snappy, witty and bursting with tongue-in-cheek absurdity (“Blah blah blah truth truth truth so help you God? I do.”). Class  was a smoky delight between Demi-Ann and Luka, My Own Best Friend  showcased lovely vocal chemistry between Bella and Demi-Ann, and the Nowadays  finale framed the pair beautifully. I also adored the ensemble costumes for this number. Then came Hot Honey Rag.  The band absolutely slayed it, and the choreography for the girls was perfection — a glitzy exclamation mark on an already impressive show! It might be a little risqué for a student showcase, but a brilliant choice to highlight such a large, talented ensemble. The production was bold, charming, and executed with absolute professionalism. Every performer gave their all. They managed to bottle the razzle, the dazzle, and the heart, and I left the theatre muttering, “My exit music, please!”

Presented by Paterson Productions Venue : Twelfth Night Theatre Directed by Sam Caruana Musical Direction by Mark Mirhan Choreography by Kamara Albertson Photography: PIF Productions Kenn Wylchi Santos There’s something about Priscilla, Queen of the Desert  that makes you want to grab your boa and live loudly! Based on Stephan Elliott’s beloved 1994 film, the story follows drag queens Tick and Adam and their glamorous trans friend Bernadette as they travel from Sydney to Alice Springs in their lavender bus “Priscilla.” It’s set in the 1990s, when queens weren’t exactly common in regional Australia... and the trio’s road trip becomes a sparkling odyssey of friendship, identity, and acceptance, served with disco bangers and a whole lot of high heels! From the first glitter explosion of “It’s Raining Men,” the powerhouse Divas ( Alexis Lee , Claire Sutton , Eleanor Grieve ) had the crowd in the palm of their hand. From there, the dance floor never cooled down. Kamara Albertson’s  choreography made every number pop. If there was a disco move that existed, it was in there! The large ensemble filled the stage for “Go West,” delivering powerhouse vocals and precision chorie that brought the house down. Simon Chamberlain stole the show as the glitzy and spunky Felicia. Simon is the complete package: singer, dancer, actor, and queen! His performance of “Venus” was electrifying, and his La Traviata lip-sync moment from the orchestra pit (complete with bubbles) was epic. He finally fulfilled his dream of performing Kylie Minogue atop Uluru, his high notes so powerful they nearly blew the roof off. He could also deliver zingers better than a stand-up comedian, and could strut in heels better than most of us can manage in sneakers. Honestly, his legs and dance agility in heels put me to shame. And that blonde wig was pure Hannah Montana. Jason Miller  gave Tick/Mitzi a warm, soulful centre. His “I Say a Little Prayer” was tender and gorgeously sung, building to full diva glory. Later, his big number “Cake (Out in the Rain)” showed off a powerful voice and a delightfully cheesy showman grin. Adam Bartlett’s Bernadette, meanwhile, was the emotional anchor of the show. With poise and dry wit, Bartlett embodied a woman who’s seen it all but still has room for love and compassion. The way he commanded a scene with a single eyebrow raise or cutting remark was delicious. His chemistry with David O’Keeffe’s sweet, rugged Bob gave the show romantic grounding; their connection blossoming with warmth and gentle humour. Among the supporting cast, Vanessa Chuah  absolutely nailed Cynthia’s iconic ping-pong number, blocked to perfection for maximum comedy. Meg Hargraves  as Marion gave lovely groundedness. Patricia Dearness and Caleb Holman  added Aussie flavour in their featured turns. Special shout-outs to Sunny J , Mikey Searle , and Meggie Ryder , whose energy among the dancers were standout. And when Clayton Eltis  led “Thank God I’m a Country Boy,” complete with a Nutbush moment, it was peak Aussie mood. Fraser Goodreid  (alternating with Spencer Goodreid ) melted hearts as young Benji. Watching him proudly admire his dad dressed as Mitzi during “Always on My Mind” was genuinely moving. The tenderness of that scene cut through the glitter and disco, grounding the show in real love and acceptance. The mascs in the cast could do it all: intimidate the queens one minute, and then become queens the next! Blonde Diva Claire Sutton  shone in “Girls Just Wanna Have Fun,” effortlessly hitting sky-high notes as Simon joined in to show off his own impressive belting ability. Highlights were plentiful: the riotous “Don’t Leave Me This Way” (the most fun funeral I’ve ever attended), the chaotic karaoke night at Broken Hill with mullets galore, the heartfelt “True Colours” trio, and the disco inferno of “I Love the Nightlife”. The live band, led by musical director Mark Mirhan  (in a wig), was flawless from start to finish. Every hit song landed perfectly, and the brass section had the audience bopping in their seats during “Boogie Wonderland.” These lush orchestrations gave new life to the jukebox classics, from “Hot Stuff” to “I Will Survive.” And speaking of surviving, what a feat of design! The bus itself, built by Gary Winsen  and Samantha Paterson , rotated smoothly from its tin-covered exterior to a glitter-bomb interior worthy of a Vegas nightclub. During “Colour My World,” Tom Dodds’  lighting turned it into a rainbow beacon in the outback night. Lachlan Hall’s  drag costumes and elaborate wigs were jaw-dropping, each reveal more outrageous than the last, from floral bodysuits to a dress made entirely of thongs (the footwear kind). Supported by Milton Redshaw’s  wardrobe management and Rosie Humphreys’ ingenious quick-drag makeup masks, every transformation felt like pure stage sorcery. The audience was gloriously rowdy, whooping, laughing, gasping, and wincing at the sting of the show’s moments of homophobic slurs. It was a vivid reminder of how far we’ve come, and how vital stories like this still are. “We Belong” wrapped the journey up with heartfelt warmth before the megamix sent us out dancing and grinning. It was a joyful, unapologetically queer celebration of drag artistry, self-expression, and friendship. Director Sam Caruana  steered this production with a sure hand and a beautiful heart. His vision balanced the show’s outrageous camp with real emotional depth, allowing moments of silliness and sincerity to coexist beautifully. The pacing was tight, the transitions slick, and the humour landed every time. Caruana’s eye for detail shone through in the character work and the clever staging, particularly in how the bus was incorporated. It was clear the cast trusted their director completely, and that sense of camaraderie radiated from the stage. With powerhouse performances, Aussie humour, impeccable design, and dance moves for days, Priscilla, Queen of the Desert  was everything I hoped it would be and more. If I hadn’t attended the final performance, I would have definitely gone again! Huge congratulations to Samantha Paterson, Sam Caruana, and the entire creative team for a production that not only looked spectacular but felt it too. This bus is going places.

Title:  Queensland Shakespeare Ensemble – 2026 Core Ensemble & Apprentice Programs Presented By:  Queensland Shakespeare Ensemble (QSE) Genre:  Classical Theatre / Shakespeare Synopsis: The Queensland Shakespeare Ensemble (QSE) invites passionate theatre artists to audition for its 2026 Core Ensemble and Apprentice Program. Known for its vibrant, community-driven artistry and ensemble ethos, QSE is dedicated to inclusive, collaborative theatre that celebrates diversity and the transformative power of Shakespeare’s words. Applicants will train and perform alongside a company renowned for excellence in classical performance, actor training, and social impact through its Shakespeare Beyond outreach programs. Whether you’re an experienced actor ready to deepen your ensemble practice or an emerging artist looking to explore Shakespeare for the first time, QSE offers an immersive and supportive artistic home. Audition Dates: Initial Auditions:  Saturday 29 & Sunday 30 November 2025 (afternoon sessions, by appointment) Callbacks:  Monday 1 December 2025, 6:00pm–11:00pm (must be available for the full session) Application Deadline: Friday 21 November 2025 at 5:00pm Audition Location and Address: Avalon Theatre – University of Queensland, St Lucia Audition Requirements: Prepare two contrasting Shakespeare monologues: One comic piece & One dramatic piece (1–2 minutes each; pieces do not need to match your age or gender; choose material with which you feel a personal connection.) Auditions will be held in 15-minute solo sessions by appointment. Callbacks are group sessions including voice, text, movement, and improvisation work. Audition Registration / How to Apply: Email your complete application to info@qldshakespeare.org  (PDF and JPEG attachments preferred). Your application must include: Headshot  (A4, high-resolution JPEG) Acting CV Non-acting CV  or short statement of administrative or managerial skills (for Core Ensemble applicants) One-page cover letter  stating: Whether you are auditioning for the Core Ensemble, Apprentice Program, or both Contact details and preferred audition time Why you want to work with QSE What attracts you to independent theatre in Queensland Your strengths and challenges as an actor Any specific availability limitations for your audition weekend Production Website: https://qldshakespeare.org/auditions/ Other Information: QSE actively encourages applications from First Nations, CALD, LGBTQIA+, neurodivergent, and disabled artists. Not all applicants will be offered an audition slot. Incomplete applications will not be accepted. Once received, QSE will acknowledge your application by email and confirm your audition time by Monday 24 November. Core Ensemble The Core Ensemble is the heart of QSE — a collective of skilled actors who are artistically and administratively involved in all company activities. Members receive priority for paid work, creative input in programming, and ongoing training opportunities. Ideal Candidates: Experienced theatre practitioners with strong Shakespeare foundations Artists passionate about ensemble creation and long-term company involvement Committed to QSE’s philosophy of collaboration, inclusivity, and social engagement Commitment: Approx. 8 hours per week for artistic and administrative duties across the year. Apprentice Program Designed for artists 18 years and over seeking to build a foundation in classical text, performance, and ensemble theatre. Apprentices receive intensive training in the Linklater voice method, movement, and Shakespearean performance, while engaging in company operations and community projects. Cost:  $950 (includes membership, training, accommodation & meals during intensive) Ideal Candidates: Emerging theatre artists ready to train in a professional ensemble environment Committed learners seeking mentorship and growth through hands-on creative work

Title:   Any Moment: A New Musical Presented By:  Bradley McCaw Makes Musicals / PIP Theatre Genre:  Contemporary Australian Musical / Workshop Production Synopsis : Any Moment  is a brand new Australian musical exploring the lives of ordinary people on the brink of extraordinary change. Set in real time over a single day, the show captures moments of love, loss, hope, and transformation—reminding us that life can shift in any moment . This pilot workshop offers Brisbane performers the rare opportunity to help shape a new work from one of Australia’s most dynamic musical storytellers, Bradley McCaw, in an intimate, Off-Off Broadway–style development process at PIP Theatre. Audition Date: Self-tape submission due prior to Call Backs – Sunday 2 November 2025 Audition Location and Address: Call Backs at PIP Theatre, Milton, Brisbane Audition Self-Tape Due: Submit your video audition via email to bradleymccaw@gmail.com Audition Requirements: Select one vocal part: Soprano, Alto, Tenor,  or Baritone Record yourself performing 16–32 bars of the song “Twenty Four” Backing tracks and sheet music available here: Backing & Sheet Music Playlist Submit your video link (YouTube, Google Drive, etc.) via email. Successful applicants will be invited to attend in-person callbacks at PIP Theatre on 2 November. Performance Dates: Friday 23 January 2026 Saturday 24 January 2026 Performance Location: PIP Theatre, Milton, Brisbane Rehearsal / Workshop Dates: 12 – 22 January 2026 (10-day musical development workshop) Performer Age: 18+ Production Website: bradleymccawmakesmusicals.com/news-/any-moment-audition-announcement-pip-theatre Other Information: This is a profit-share workshop production. 4 actors (plus understudies) will collaborate directly with the composer to workshop new material and perform in a developmental showcase. The project provides a unique professional opportunity to build experience in new musical development processes. Available Roles / Character Breakdown: Four roles available: Soprano  – Bright, lyrical voice; expressive and dynamic emotional range. Alto  – Warm, soulful tone; strong lower register and storytelling ability. Tenor  – Contemporary sound with mix/belt ability; emotive and engaging. Baritone  – Rich, resonant tone; grounded presence and versatility. Understudies for all vocal lines may also be cast.