Heathers: The Musical Producers: Bill Kenwright Limited, Paul Taylor-Mills, and GMG Productions Music, Book & Lyrics: Kevin Murphy / Laurence O’Keefe Venue: HOTA, Home of the Arts Date Attended: 2 August 2026 Director: Andy Fickman Choreographer & UK Associate Director: Gary Lloyd Musical Supervisor: Will Joy Musical Director: Martine Wengrow Set & Costume Designer: David Shields Lighting Designer: Ben Cracknell Sound Designer: Dan Samson Photography: Cameron Grant "We're all damaged, we're all frightened, we're all freaks, but that's all right. We'll endure it, we'll survive it." Heathers remains firmly planted in my top ten musicals, and every production I’ve seen has found a fresh twist within Westerberg High. The score absolutely rips, the body count is alarming for a high-school story, and this 2026 AusNZ touring production understands something I particularly love about the material: beneath the murder, social warfare, and spectacularly inappropriate jokes, these characters are still just hormone-fuelled teenagers trying to survive high school. Based on the cult 1988 flick, Heathers follows Veronica Sawyer (Emma Caporaso), a high-school wallflower who suddenly finds herself invited into Westerberg’s ruling mean-girl trio, the Heathers. Popularity quickly proves less appealing when it means participating in their casual cruelty. The arrival of mysterious new student Jason “J.D.” Dean (Conor Beaumont) offers Veronica a possible way out. Unfortunately, J.D.’s solution to high-school bullies is a bit more, shall we say, ‘permanent’ than what Veronica had in mind... The audience at Home of the Arts (HOTA) was absolutely primed for this show. Huge cheers erupted throughout the score, laughs landed constantly, and familiar lines were greeted with the excitement of a crowd that knew exactly what was coming. Yet this cast regularly makes those lines sound new, finding different pauses, reactions, physical choices, and tiny inflections rather than leaning on familiar interpretations. Emma Caporaso is an immediate example, making her professional musical theatre debut as Veronica. (Sorry... what?!) Petite, dorky, awkward, and enormously likeable, she never seems too ‘good’ for Westerberg. This is a teenager desperately trying to navigate a social system she understands intellectually but is nowhere near equipped to survive emotionally. She’s also very, very funny! Her blunt delivery became one of my favourite recurring pleasures of the night, particularly when Veronica’s mouth is several steps ahead of her brain. Even better is the way she retains that awkward adolescent quality through the darker material. “Dead Girl Walking” doesn’t transform her into some sudden seductress. Veronica is tipsy, impulsive, horny, nervous, and making an absolutely chaotic teenage decision, with Caporaso filling the number with funny little character choices. Caporaso absolutely attacks the vocals in “I Say No” (probably my favourite number of the performance). That chemistry works beautifully with Conor Beaumont. His J.D. initially comes across as a believably enigmatic kid beneath the trench coat and swagger. “Freeze Your Brain” is terrific, giving Beaumont space to establish the character before we realise just how deep his issues run. Meanwhile, Veronica practically undresses him with her eyes from the sidelines. As the story darkens, so does Beaumont. “Our Love Is God” becomes an especially effective turning point. The staging tightens around the pair, culminating in a chilling spotlight moment that marks the point where Veronica can no longer romanticise what is happening. By “Meant to Be Yours”, J.D.’s physicality has become genuinely frightening, with Beaumont spitting and striking himself as the character unravels. Their size difference also gives the relationship an interesting physical dynamic. During “Seventeen”, Beaumont can wrap himself around Caporaso from behind in a way that reads as both romantic and subtly dominant, suiting a relationship where tenderness and control have become increasingly difficult to separate. I was therefore surprised by how visually bare the number was. In a production where Ben Cracknell’s lighting is otherwise so sharp and purposeful, “Seventeen” seems unusually under-designed. Of course, Westerberg is nothing without its ruling class. Calista Nelmes makes Heather Chandler an imposing figure before she even speaks. I loved her piercing stare and permanently judgemental expression, and David Shields’ two-level set frequently positions Chandler above everyone else, quite literally allowing her to survey her kingdom. Then comes “Candy Store”. Those riffs. Those harmonies. The choreography is crisp and recognisably Heathers without feeling recycled, something that continues throughout Gary Lloyd’s work. The blocking is excellent too, constantly finding clever uses for levels, bodies, and sightlines. Nelmes becomes even more entertaining following Chandler’s unfortunate demise (killer work, literally), hovering over Veronica with gleeful malice as her influence refuses to die with her. At this performance, cover Thalia Osegueda Santos stepped into the role of Heather Duke. “Never Shut Up Again” features some of my favourite choreography of the night from the ensemble and Santos' powerhouse voice. Abigail Sharp as Heather McNamara exposes what sits underneath that hierarchy. “Lifeboat” strips away the perfect yellow exterior and reveals the panic underneath. Mel O’Brien brings a similar softness to Martha Dunnstock, a sweet soul almost impossibly innocent for Westerberg. “Kindergarten Boyfriend” is sweet and sad as hell. Martha seems less in love with Ram himself than with the idea of love, connection, and finally being chosen by somebody. Nic Van Lits’ Kurt Kelly and David Cuny’s Ram Sweeney go in quite a different direction. These two are complete goobers. Their stupidity is enormous, physical, and proudly unsubtle, perfectly resembling teenage boys showing off for no one but each other. Van Lits’ slow-motion sequence during “Fight for Me” is particularly brilliant, while “You’re Welcome” shows off some seriously agile physical work (along with impressively coordinated bouncing pecs). Theatre is a broad art form folks... Casting Ellis Dolan and Brodie Masini as Ram and Kurt’s respective fathers makes the generational resemblance even funnier. The dads are essentially older versions of their sons, which gives the already brilliant “My Dead Gay Son” another layer. Zoe Gertz also receives her shining moment as Ms Fleming in “Shine a Light”. It’s gloriously theatrical, with one particularly good sport in the second row briefly recruited into the madness at Westerberg and handling his unexpected participation perfectly. Across the production, the ensemble makes the school itself feel alive. Individual character work continues in the background, the group vocals are mighty, and the movement is precise. The choreography and Andy Fickman’s direction keep finding new comic details throughout. Most importantly, humour continues trickling through the heaviest moments without making the characters’ pain meaningless. These are kids making catastrophic decisions while trying to be loved, admired, protected, or simply noticed. And that ending... Chills! After watching Westerberg divide itself into winners and losers, queens and nobodies, bullies and victims, suddenly they’re all just kids again. Damaged, scared, messy, and trying to survive high school together. Underneath the red scrunchie is something surprisingly hopeful about growing up, screwing up, and surviving it. Dear diary... I believe there’s good in everyone.

Title: Collected Grimm Tales Presented By: Ad Astra Theatre Company Genre: Fairy Tale / Fantasy / Ensemble Theatre Synopsis: Adapted by Carol Ann Duffy and dramatised by Tim Supple, Collected Grimm Tales brings the classic stories of the Brothers Grimm to the stage with humour, imagination, and a darker theatrical edge. Familiar tales including Little Red Riding Hood, Snow White, and Rumpelstiltskin are retold through fluid ensemble storytelling. Performers shift between narrators, heroes, villains, animals, royalty, villagers, and magical creatures, often transforming from one character to another within a single scene. The production will present two versions of the play: the complete version, recommended for audiences aged 15+, and a shorter modified version suitable for children of all ages. Audition Date: Monday 24 August and Tuesday 25 August 2026 Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a fairy-tale excerpt of your choice, no longer than two minutes. Include narration and at least one character. Demonstrate a clear vocal shift between narrator and character. Engage the audience and invite them into the world of the story. Establish a clear mood through vocal delivery. Showcase characterisation through voice and physicality. The piece may be memorised or retold from memory in your own words. Auditionees are welcome to use movement and gesture. Audition Registration: Apply through the form available on the Ad Astra auditions page, or email collectedgrimmtalesadastra@gmail.com Email applications must include: A recent headshot. A current CV in Word or Google Docs format. Performance Dates: 3–19 December 2026 Performance Times: Thursday evenings Friday evenings Saturday evenings Saturday matinees Sunday matinees Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: Weekly rehearsals commence Sunday 30 August 2026. Rehearsal Times: Mondays: 6:15pm–9:30pm Wednesdays: 6:15pm–9:30pm Sundays: 10:00am–4:00pm Warnings: The full version is recommended for audiences aged 15+. Creative Team: Co-Director: Bradley Chapman Co-Director: Prue Robb Production Website: Ad Astra Auditions Other information: Callbacks, if required, will be held on Wednesday 26 August 2026. This is a co-op production. Cast and crew will receive a share of ticket sales after expenses. Actors of all backgrounds, ethnicities, and body types are encouraged to apply. Available Roles/Character Breakdown: This is an ensemble production rather than a traditional play with fixed individual roles. Every performer will portray several characters across the different stories. The production will present two versions: the complete version recommended for audiences aged 15+, and a shorter modified version suitable for children of all ages. Characters may include: Narrators Heroes and heroines Princes and princesses Kings and queens Witches Wolves Animals Villagers Magical creatures Other figures from the Brothers Grimm fairy tales The production is seeking performers who: Have strong acting and storytelling skills. Can create distinctive characters using voice and physicality. Are comfortable with movement and ensemble performance. Can perform both comedy and darker dramatic material. Work collaboratively and support fellow cast members.

Title: The First Night (of the One Day of the Year) Presented By: Ad Astra Theatre Company Genre: Satirical Comedy / Farce Synopsis: Adelaide, 1960. The Cold War is in full swing, Australian culture is still heavily shaped by overseas influence, and Alan Seymour’s controversial play The One Day of the Year is preparing for its world premiere. After the Adelaide Festival withdraws the production over fears that its criticism of Anzac Day may offend returned servicemen, an amateur theatre company decides to stage it instead. What follows is a fictionalised version of opening night, inspired by real events. With cast romances, bomb threats, censorship, missing actors, ASIO operatives, bureaucratic interference, audience distractions, and a vice squad investigation all threatening the performance, the company must somehow keep the production alive. The First Night is a farcical comedy about Australian storytelling, cultural cringe, political pressure, amateur theatre, and the determination to ensure the show goes on. Audition Date: Sunday 16 August 2026 Audition Time: 11:00am–2:00pm Audition Location and Address: Ad Astra – Pluto, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a comedic monologue between one and three minutes in length. Auditionees should also be prepared to participate in a cold reading from the script. Audition Registration: Apply by emailing creatives@adastracreativity.com Please include: A recent headshot A current CV in Word or Google Docs format The role for which you are applying Performance Dates: 5–21 November 2026 The season may be extended by one additional week. Performance Times: Thursdays: 7:30pm, Fridays: 7:30pm, Saturdays: 2:00pm and 7:30pm Performance Location: Ad Astra – Pluto, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: Mondays, Wednesdays, and Saturdays Rehearsal Times: Mondays: 6:30pm–9:30pm, Wednesdays: 6:30pm–9:30pm, Saturdays: 11:00am–5:00pm Rehearsal days and times may be adjusted around cast and crew availability. Warnings: Mild staged intimacy for the role of Tony References to bomb threats, political surveillance, censorship, war commemoration, and anti-Communist investigations Period attitudes and language associated with 1960 Australia Performer Age: Adult performers Creative Team: Director: Nathaniel Currie Other information: This is a co-op production. Cast and crew will receive a share of ticket sales after expenses. Callbacks will be held on Monday 18 August 2026 from 6:30pm–8:30pm. Enquiries and applications should be sent to creatives@adastracreativity.com. Available Role/Character Breakdown: Tony Playing age: Mid-20s to mid-30s A charismatic and relatable leading character with strong stage presence. Tony is optimistic, romantic, grounded, and approachable. State-educated and down-to-earth, he represents an Australian “everyman” whose warmth and authenticity make him easy to connect with. The role requires: Excellent comedic timing Strong physical performance skills The ability to balance farce with genuine emotional depth Confidence carrying a leading role Mild staged intimacy with Coral, the production’s leading lady

Title: Dog on a Tucker Box Presented By: Underground Theatre - University of Queensland Drama Society Genre: Coming-of-Age Drama / Magical Realism Synopsis: Set in rural New South Wales during the mid-1990s, Dog on a Tucker Box follows 17-year-old Mikey Windsor, a teenager who feels out of place in the small town of Gundagai. After a bizarre encounter with a genuine UFO, a mysterious new student named Amelia arrives at school. Convinced the events are connected, Mikey forms an unlikely friendship with Amelia as the pair challenge each other to grow and change. Combining realism with absurdism, the play tells a touching story about friendship, identity, and change. Audition Date: Tuesday 18 August 2026 Audition Location and Address: University of Queensland Campus Audition Registration: Applications close Friday 14 August 2026 at 11:59pm. Performance Dates: 21–24 October 2026 Performance Location: Geoffrey Rush Studio, University of Queensland Rehearsal Dates: Table Read & First Production Meeting: Sunday 23 August 2026 Rehearsals commence: Monday 24 August 2026 Bump In/Technical Rehearsal: Tuesday 20 October 2026 Creative Team: Writer: Cullyn Beckton Production Website: https://www.undergroundtheatre.net/

Title: Going Postal Presented By: Brisbane Arts Theatre Genre: Fantasy Comedy Synopsis: Based on Terry Pratchett's Discworld novel and adapted for the stage by Stephen Briggs, Going Postal follows the charismatic conman Moist von Lipwig, who is sentenced to death for his crimes—only to find himself unexpectedly offered a second chance. Appointed the new Postmaster of the dilapidated Ankh-Morpork Post Office, Moist is tasked with reviving a long-forgotten institution while navigating a city filled with eccentric personalities. Along the way he encounters the ancient, the obsessive, the cunning, the undead, sentient golems, and even finds romance as he attempts to restore the postal service to its former glory. Audition Date: Sunday 23 August 2026 Audition Time: One-hour workshop sessions between 10:00am and 4:00pm Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: Prepare a 1–2 minute comedic monologue. Auditions will take place in a workshop format with groups of up to 10 performers. Callbacks (by invitation only) will consist of: Cold readings from the script A short movement workshop Wear comfortable clothing suitable for movement. Audition Registration: Register via the Brisbane Arts Theatre website. Audition Pack: https://artstheatre.com.au/wp-content/uploads/2026/08/Going-Postal-Audition-Pack-1.1.pdf Performance Dates: 29 October – 7 November 2026 Performance Times: Thursday evenings Friday evenings Saturday matinee Saturday evening Performance Location: Arcana, 46 Evesham Street, Moorooka QLD 4105 Rehearsal Dates: 24 August – 28 October 2026 Regular rehearsals: Sundays Mondays Wednesdays Technical rehearsals: Monday 26 October Tuesday 27 October Wednesday 28 October Rehearsal Times: Sundays: 12:00pm–6:00pm Mondays: 6:00pm–9:30pm Wednesdays: 6:00pm–9:30pm Technical rehearsals: Monday: 9:00am–10:00pm Tuesday & Wednesday: 6:00pm–10:00pm Performer Age: 18+ Creative Team: Directors: Ben Kasper & Frances Foo Production Website: https://artstheatre.com.au/events/auditions-going-postal/ Other information: Callbacks will be held on Monday 24 August 2026. Auditions are open to performers of all genders, abilities, backgrounds and ethnicities. Successful performers must become financial members of Brisbane Arts Theatre if not already members. Membership costs $40 and is valid for 12 months. Cast members must be available for all technical rehearsals and performances. Enquiries: postal26@artstheatre.com.au Available Roles/Character Breakdown: Moist von Lipwig (Alfred Spangler): A charming, smooth-talking con man forced by Lord Vetinari to revive the dead postal system instead of facing execution. He uses his criminal mind to manipulate public systems for good. Adora Belle Dearheart: A sharp-tongued, chain-smoking woman with a deep grudge against the grand semaphore company; she becomes Moist's sharp-witted romantic interest and moral compass. Reacher Gilt: The ruthless, gold-tooth-wearing head of the Grand Trunk Semaphore Company. He represents corrupt corporate greed and treats communication lines like a violent pirate game. Tolliver Groat: An aging, eccentric junior postmaster who is a walking medical disaster and survivor of the old postal office era. Stanley Howler: A quirky, obsessive stamp- and pin-collecting enthusiast whose fragile mind hides a surprisingly intense passion for sorting mail. Mr. Pump: A massive, literal-minded Golem programmed to watch Moist and ensure he stays alive and honest. Lord Havelock Vetinari: The cynical, brilliant Patrician of Ankh-Morpork who masterminds Moist's forced rehabilitation. Sacharissa Cripslock: A young, ambitious journalist for the Ankh-Morpork Times who helps expose corruption and publicize the revived post office.

Title: The Paige Turner Bookshop Presented By: Play on Stage Genre: Original Youth Play / Family Theatre Synopsis: When six young people visit the new neighbourhood bookshop run by the mysterious Miss Paige, all they are looking for is a good read. What they find within those walls are stories they could never expect. Written by Harry Fritsch and directed by Virag Dombay, The Paige Turner Bookshop is a new original Brisbane youth play about the power of books and how stories can help us find meaning in our lives. Filled with heart, humour, warmth, emotional depth and just a dash of magic, this production is sure to surprise and delight every member of the family. Audition Date: Wednesday 12 August 2026 (Ekka Public Holiday) Audition Time: 9:00am–9:30am 9:30am–10:00am 10:00am–10:30am 10:30am–11:00am Audition Location and Address: 97 Fernberg Road, Paddington QLD 4064 Audition Requirements: Arrive 10 minutes prior to your scheduled audition time. Complete the official audition form before attending. Check your availability against the rehearsal and performance schedule. Submit your completed audition form, including your first, second and third preferred audition time slots. Be prepared to read from the script if requested. Audition Registration: Complete and submit the official audition form and submit HERE. Performance Dates: 17-25 October 2026 Performance Times: 10:30AM & 7PM Performance Location: The Enoggera Performing Arts Centre (EPAC), 52 Laurel St, Enoggera Rehearsal Dates: Weekly Wednesday evening rehearsals, with additional Monday and Tuesday rehearsals during the school holidays, plus selected additional rehearsal dates as required. Rehearsal Location: 97 Fernberg Road, Paddington QLD 4064 Performer Age: Adults (18+) Teenagers Children Creative Team: Playwright - Harry Fritsch Director - Virag Dombay Production Website: Play on Stage - The Paige Turner Bookshop Other information: This is a professional production. All young performers cast in the production will be paid. Auditionees are encouraged to carefully review the rehearsal schedule before submitting their audition form. Please arrive early to complete check-in and availability confirmation before your audition. Available Roles/Character Breakdown: Miss Paige (Adult Female) - A mysterious yet charming bookshop owner determined to finish a book for which she only possesses the final chapter. Kaiden (Teenage Male) - Rosie's older brother. A hopeless romantic who struggles to communicate his feelings. Georgia (Teenage Female) - An aspiring author and devoted fan of romantasy novels. Rosie (Child Female) - Kaiden's younger sister, vice-captain of her school's Under-12 girls' soccer team who loves reading soccer-themed manga. Robin (Child – Female or Male) - A curious child obsessed with explosives and scientific experiments that create as much chaos as possible. Jude (Child – Female or Male) - A hardworking, academically focused student who spends most of their time studying. Chelsea (Child Female) - A quiet young girl who prefers to lose herself in the worlds found within books.

Dracula Presented by: BIG Live (Ballet International Gala Live) Venue: Lyric Theatre, QPAC Date Attended: 29 July 2026 Choreographer: Joel Burke Director: Khalid Tarabay Original Music: Jason Fernandez and Toby Alexander Set Designer: Martin Thomas Costume Designers: Sophia Drakos and Fiona Holley Lighting Designer: Steven May Photography: Andre Uspenski Small spoilers ahead. BIG Live’s Dracula is for anyone who thinks ballet could use a bit more bite. Joel Burke’s production sinks its teeth in and draws out every drop of theatre it can find - gothic romance, supernatural spectacle, punishing choreography, and enough dramatic cape work to make Elphaba green with envy. It’s easily the most dramatic ballet I’ve seen. Anyone expecting a page-by-page retelling of Bram Stoker’s story may need to loosen their corset... The novel unfolds through letters, journals, and testimonies, which isn’t particularly helpful when nobody onstage is allowed to speak. Burke creates something quite different. I’d say it’s more like a vampire version of Phantom meets Romeo and Juliet, with a dash of Rocky Horror sneaking around in the shadows. The story begins centuries before the Harkers decide to vacation in Transylvania. Vlad, a formidable warrior, returns from battle to discover that his wife has been offed by the enemy. In his grief, he sells his soul and turns into Dracula. Overreaction much? Fast forward two hundred years, and newlyweds Jonathan and Mina Harker are gifted a honeymoon at the Count’s castle. It’s a thoughtful gesture, right? Apart from the ghosts, imprisonment, vampirism, and eventual massacre... The first act begins in considerably sweeter territory. Wedding guests resemble the porcelain dolls from my childhood brought to life, dressed in pale pastels and dainty bonnets, while dashing gents in tails twirl them around the stage. The corps creates a picture of Victorian happiness, blissfully unaware that the evening is heading towards bloodshed. Once the familiar organ chords of Bach’s Toccata and Fugue in D Minor begin, murmurs of happy recognition ripple through the audience. Martin Thomas’ set is a gothic beauty, with painted backdrops, dramatic archways, stained-glass windows, and physical scenery. There are no projections pretending to be walls here. The castle dominates the QPAC Lyric Theatre stage, and the twilight (yeah, I went there) pouring through the stained glass is one of the show's loveliest images. Steven May’s lighting shifts between cold moonlight, blinding white, violent red, and softer washes for the human scenes. Dracula can appear or disappear in a breath, while the supernatural stagecraft remains hidden enough to preserve the magic. Sophia Drakos and Fiona Holley’s costumes are the secret sauce of the storytelling. The designs retain their period detail while allowing the dancers to move freely through demanding choreography. The ghosts wear weathered grey-white fabrics and long pale wigs, giving them a wonderfully dramatic 'Mother of Dragons' appearance. They bourrée across the stage en pointe, weave around one another in exact formations, and attack each sequence with control. Much of their choreography depends on perfect timing. These scenes appear among the most physically demanding in the production, yet the dancers maintain their eerie synchronicity while giving each ghost her own threatening presence. The choreography asks an enormous amount of its principal dancers. Naturally, Dracula is the epitome of melodrama. Ervin Zagidullan stalks through the castle with a winged cape billowing behind him. Zagidullan moves as though the normal rules of the stage don’t apply to him. He glides like an ice dancer, then launches into the air with the power of a gymnast. He folds inward through tortured phrases to reveal the grief that created the monster. With no dialogue, every look and gesture must do serious work. Zagidullan gives Dracula command, danger, seduction, and despair. Yet, when he sees Mina and mistakes her for his dead wife, we witness a flicker of humanity peeking through. Abbey Hansen as Mina initially brings beautiful warmth, which gradually grows into extreme fear. At the wedding, she flits around with the excitement of a new bride. Inside the castle, her resistance emerges as Dracula’s control closes around her. During their second-act pas de deux to Lacrimosa, Hansen's terror is so apparent that it can be seen from the back of the stalls. She is pulled, lifted, twisted, and carried through challenging combinations, appearing weightless in Dracula's grasp. Hansen's emotional clarity ensures that the beauty of the movement never obscures Mina's horror though. The dancer portraying Jonathan Harker at my performance was a spinning sensation - like he had wheels on his feet! His movements begin with the strength of a romantic lead, then grows frenzied and animalistic after Dracula transforms him. The encounter between Jonathan and Dracula becomes a pas de deux, stage combat, and a supernatural dance-off. They match each other move for move in an epic battle, all set to the thundering force of Dies Irae. Mina and Jonathan’s honeymoon pas de deux unfolds to Clair de Lune (because apparently all vampires are Debussy fans). It’s tender, with the newlyweds moving through the castle in their own private world. But, surprise, surprise, their romantic escapade gets cut short. Cue the spooky strings, harp, organ, and winds crashing the party, effectively putting a damper on Mina and Jonathan’s steamy moment. Enter the ghostly brides, who emerge from the castle and torment the couple through some of the production’s most imaginative choreography. The four ghostly bridal ballerinas unleash a ferocious second-act performance, shifting from elegant lines to predatory attacks. The climax is a whirlwind of flight, combat, blood, sorrow, and sacrifice that had the audience around me gasping. That audience response says a great deal about how well the storytelling works. Ballet can sometimes feel a bit distant for those who aren't fluent in its silent language. But Dracula keeps its central emotions and themes clear (at least to me) through its movement, music, and visual storytelling. During the break, I overheard someone confess, “I usually get bored during ballets,”with the clear implication that this one had them completely gripped. Joel Burke’s choreography is rooted in classical technique and driven by theatrical momentum. Original compositions by Jason Fernandez and Toby Alexander are woven through familiar repertoire, including Clair de Lune, Liebestraum, Isle of the Dead, Dies Irae, and Lacrimosa. The softer pieces carry tenderness and yearning, while the darker works bring weight to Dracula’s dark world. The theatrical effects add another layer of drama. Dracula vanishes through perfectly timed lighting, writhes in the sunlight, and defies gravity to fly like a bat. These effects are woven into the choreography, and the audience reacts every time somebody starts levitating. I'm a sucker for stage magic, and this ballet knows when to use it for maximum effect. There are moments when the plot moves quickly enough to challenge anyone who skipped reading the synopsis. Seriously, learning the summary before the performance will help, especially since this adaptation travels far from Bram Stoker’s original plot. Burke’s reimagining gives the ballet its own identity, using familiar Dracula lore to explore grief, obsession, doomed love, and darkness. It finds fresh visual possibilities within a story that has already been adapted countless times. BIG Live’s Dracula gives regular ballet audiences plenty to admire, while luring newcomers with a gripping introduction to classical dance. I especially recommend it for those who enjoy a bit of gothic drama, horror, fantasy, or anyone who thinks ballet could use a few more vampires.

Title: Morning Melodies Touring Presented By: Stage Queensland Genre: Morning Melodies Concert Series / Live Music Touring Program Synopsis: Morning Melodies Touring is a statewide touring initiative presented by Stage Queensland, bringing high-quality live music performances to regional and metropolitan venues across Queensland. Featuring Australia's leading tribute artists, cabaret performers and entertainers, the program offers engaging daytime concerts designed primarily for senior audiences, while remaining enjoyable for music lovers of all ages. The 2026 season includes tributes to iconic artists and musical eras, with performances touring to participating venues throughout Queensland. Application Date: Applications close 11:59PM, August 10th, 2026 Application Requirements: Include the following information in the Morning Melodies application form Show details (name of show, synopsis, duration) Performer details (number of performers, their roles e.g. singer, piano player) Production images Song list Links to video footage if available Tech specs (LX & sound requirements, bump-in / out times, what gear you will tour with, what the venue needs to provide etc.) Reviews and history of performance (where else you have performed) Marketing materials to be provided Details of any value-ads such as “meet the performers” Fully-delivered performance fee details (includes costs of travel and accommodation and provision of raw marketing materials) Available / preferred dates Contact details Registration: Morning Melodies Application Form Application Pack: Morning Melodies Application Pack Performance Dates: Touring throughout Queensland during 2026. Individual performance dates vary by venue. Performance Times: Morning performances (times vary by venue). Performance Location: Participating performing arts centres and theatres throughout Queensland. Warnings: Suitable for general audiences. Individual venues may utilise standard theatrical lighting, haze or smoke effects where applicable. Performer Age: Professional adult performers. Creative Team: Presented and coordinated by Stage Queensland in partnership with participating Queensland venues. Production Website: Stage Queensland - Morning Melodies Touring Other information: Designed to bring affordable, professional live entertainment to communities across Queensland. Primarily presented as weekday morning performances. Many participating venues include complimentary morning tea with admission (venue dependent). Touring productions vary throughout the season and include tributes to artists such as The Seekers, Elton John, Michael Bublé, Tom Jones and Frankie Valli, among others. Available Roles/Character Breakdown: Not applicable. Morning Melodies Touring is a touring concert program featuring different professional performers, musicians and tribute artists depending on the production being presented at each venue.

Lovesong Presented by: All Entertainment Venue: PIP Theatre Date Attended: 31 July 2026 Writer: Abi Morgan Director: Harrison Allen Movement Director: Indiah Morris Lighting Designer: Noah Milne Composer: Hannah Page Pianist: Mattea Page Stage Manager: Megan Dale “The world changes, and you with it. It’s inevitable.” Forty years of marriage might seem enormous when you count all the anniversaries, birthdays, vacations, and major life decisions. Abi Morgan’s Lovesong measures it by the number of cups of tea shared, the chores that never end, those inside jokes, the squabbles, the TLC, and the annoyance of having someone permanently in your space. Directed by Harrison Allen, this production follows one couple at opposite ends of their life together. Anna-Rose Van Der Wiel and Connor Costin play Margaret and William in their younger years, while Nicky Whichelow and John Stibbard portray Maggie and Billy after four decades together. Both versions occupy the stage, observing, remembering, and occasionally reaching across time as their past and present selves overlap. It’s a beautiful premise with a great deal packed inside it. There are no villains, enormous revelations, or conveniently manufactured disasters. We’re watching the smaller moments that gradually become a marriage. The stage design immediately had me in awe. A peach blossom tree stretches above the space, surrounded by grass, ferns, and bright flowers. Lanterns hung among its branches, while the couple’s bedroom and kitchen sat within this indoor garden. Mattea Page was also visible at the piano, nestled among the greenery and incorporated into the world rather than hidden away as accompaniment. Within the home, small handwritten notes have been taped up, providing reminders for tasks like washing clothes and eating. The house embodies forty years of shared routines, while the surrounding garden lends the production a storybook ambiance. Imagery is projected onto the three bare walls, featuring literal birds or transitioning into dreamlike memories. This is further enhanced by Noah Milne’s lighting, Hannah Page’s composition, and the live piano/foley work. The production fittingly opens with young Margaret singing us a love song. Anna-Rose Van Der Wiel imbues Margaret with an excitable curiosity, whether she's discussing books, imagining their future, or trying to convince William of anything. There’s an immediate warmth to Van Der Wiel’s performance that makes Margaret extremely easy to like, even when she’s being stubborn or exasperated. Her enthusiasm gives the younger timeline much of its lightness, while she still allows the occasional storm clouds of disappointment and frustration to gather beneath that sunny exterior. Connor Costin as young William was playful, affectionate, and occasionally infuriating. His teasing gave their relationship plenty of warmth, while his drinking and flirtations exposed some of the selfishness Margaret had to handle. Costin managed to present these flaws without making William a character we would dislike. He was youthful, restless, and often uncertain about what would be enough to satisfy him in life. The question of children sits quietly inside their early years of marriage. Their infertility shapes their future, although the production doesn’t treat their life as empty. Margaret and William eventually build a life around their friendships, pets, reading, gardening, work, and one another. They spend their younger years globe-trotting and later return to those memories with affection. Side note: as someone very firmly positioned on the cat side of that children-vs-cat debate, I understood Margaret’s logic of wanting "something to take care of." Nicky Whichelow spent much of the production in pjs and a dressing gown, giving Maggie a physical vulnerability from the beginning. Her performance focused on subtle behaviours. She would frequently rub her head, fret over practical matters, and attempt to organise the end of her life while still managing Billy’s emotions. Her fear remained present, but so did her personality. Maggie didn’t become a symbol of illness. She remained the same intelligent, caring woman we had already met. John Stibbard as Billy portrayed a gentle, humorous, and quietly devastated character. He was there for Maggie, all the while carrying an anger he couldn’t comfortably place anywhere. She wanted him to prepare for life as a widower, but he had no interest in imagining a version of himself that continued without her. Stibbard initially managed this inner conflict with restraint, letting Billy’s frustration at the situation emerge through shifts in mood, tone, and attention. The chemistry between both couples was carefully developed. Van Der Wiel and Whichelow shared enough physical and emotional nuance to register as the same character, as did Costin and Stibbard. Their connection emerged through similar rhythms, accents, humour, and responses to their partner. Billy's teasing of Maggie created some of the production’s warmest moments. Across both timelines, Billy/William knew exactly how to irritate their partner, and exactly how far they could push before retreating. Harrison Allen’s direction moved comfortably between comedy and sorrow, finding plenty in both the challenges and joys of sharing a life with someone. Both couples encountered difficulties specific to their stage of life, while many of the arguments and compromises were immediately recognisable to anyone who has spent years in a partnership (or so I am told). There is a great deal the script never directly explains. We see selected fragments from forty years, then fill the spaces between them ourselves. That absence is part of what makes the story so affecting. We understand that there were thousands of breakfasts, arguments, reconciliations, illnesses, and restless evenings beyond those chosen for us to witness. Indiah Morris’ movement direction was essential to the production’s handling of time. The four actors moved around, through, and towards one another as the timelines collided. At times, a younger character would support or embrace their older counterpart. Elsewhere, one might appear to occupy the memory of the other. These sequences flowed naturally from the scenes, giving physical form to thoughts and histories that Abi Morgan leaves unspoken. Watching both timelines unfold together gives us two very different perspectives on the same marriage. It considers legacy, selflessness, ageing, and the reality of growing older while still carrying every previous version of yourself. This production approaches those ideas with imagination and considerable tenderness. Its visual world is adventurous, its performances invite plenty of empathy, and its humour prevents the play from sinking beneath its subject matter. It’s a portrait of a long relationship built from small, beautiful pieces.

Title: Nerdy Prudes Must Die Presented By: Midnight Social in co-production with PIP Theatre Genre: Musical / Teen Slasher Comedy / Horror Comedy Synopsis: From the creators of The Guy Who Didn’t Like Musicals and Black Friday, Nerdy Prudes Must Die follows a group of social outcasts at Hatchetfield High who accidentally complete an ancient evil ritual and unleash a furious supernatural spirit with one very specific grudge: nerds. As Stephanie Lauter, Grace Chasity, Peter Spankoffski, and their fellow “nerdy prudes” find themselves hunted by a bully from beyond the grave, they must somehow survive the increasingly bloody chaos consuming their school. Packed with dark comedy, horror, rock-infused musical theatre, teenage awkwardness, and the peculiar mythology of Hatchetfield, the show asks whether being yourself is worth dying for... possibly literally. Audition Date: Sunday 13 September 2026 – In-person shortlisted auditions Audition Self-Tape Due: Initial submissions are being accepted until the end of August 2026. Audition Requirements: First-round applicants should submit video material demonstrating: Singing: one pop/rock piece and one additional piece that best showcases vocal ability. Acting ability through existing performance footage, showreels, or a self-tape if preferred. Do not submit material from Nerdy Prudes Must Die. Shortlisted performers will be invited to an in-person audition on 13 September consisting of a solo music and dialogue audition and a choreography audition. Auditionees should register for both components. Please arrive 15 minutes early and bring a completed audition form, audition material, and clothing/shoes suitable for movement and dance. Audition Registration: Submit Your Audition Audition Pack: Download Audition Pack Performance Dates: 31 March – 17 April 2027 Performance Times: Wednesday 31 March – 6:30pm Preview Thursday 1 April – 7:30pm Opening Night Friday 2 April – 7:30pm Saturday 3 April – 2:00pm & 7:30pm Wednesday 7 April – 6:30pm Thursday 8 April – 7:30pm Friday 9 April – 7:30pm Saturday 10 April – 2:00pm & 7:30pm Wednesday 14 April – 6:30pm Thursday 15 April – 7:30pm Friday 16 April – 7:30pm Saturday 17 April – 2:00pm & 7:30pm Performance Location: PIP Theatre, 20 Park Road, Milton QLD 4064 Rehearsal Dates: Rehearsals commence January 2027 at PIP Theatre, 20 Park Road, Milton and MUSE Studio, 37 McDonald Road, Windsor Rehearsal Times: Sundays – 2:00pm–9:00pm Mondays – 6:00pm–10:00pm Wednesdays – 6:00pm–10:00pm Warnings: Simulated violence, adult language, sexual references, bullying, teen death, blood and gore, and the use of prop weapons. Intended for mature audiences. Creative Team: Director/Producer – Wayne McPhee Musical Director – Alex Angus Stage Manager – Al Brombeck Set Design – Brigitte Bennet Production Website: https://www.midnightsocial.com.au/nerdy-prudes-must-die Other information: This production will use a cast of 10 performers, with significant role doubling across the show. All cast members will receive an honorarium plus profit share. Callbacks, if required, will be held on Wednesday 16 September 2026. Performers may be called back for additional singing, dialogue, or choreography. Not receiving a callback does not necessarily mean an auditionee has not been cast. Midnight Social encourages applications from performers of all gender identities and expressions, sexual orientations, cultural backgrounds, ethnicities, ages, body types, and abilities, particularly LGBTQIA+ performers, First Nations artists, and culturally and linguistically diverse performers. Auditionees should clearly disclose availability and whether they are willing to be considered for ensemble, understudy, or alternate roles. Enquiries: amidnightsocial@gmail.com or wdmcphee83@gmail.com Available Roles/Character Breakdown: Max Jägerman Bari-Tenor / Rock Tenor Suggested Vocal Range: A2–C5 The king of Hatchetfield High. Max is the school’s star athlete, social icon, and most feared bully. Handsome, charismatic, physically intimidating, arrogant, competitive, and cruel, he maintains his status by keeping everyone else beneath him. After his death, he becomes the supernatural force driving the show’s chaos. Requires strong rock musical theatre vocals, natural charisma, physical confidence, comic timing, and the ability to be genuinely intimidating. Stephanie Lauter Mezzo-Soprano / Contemporary Belt Suggested Vocal Range: G3–D5 Popular, attractive, intelligent, and the daughter of Hatchetfield’s mayor, Stephanie appears to have everything but privately struggles with expectations from her family and peers. Thoughtful, empathetic, independent, and increasingly willing to reject the social role she has been assigned. Her growing connection with Pete becomes one of the emotional centres of the show. Requires strong contemporary vocals, emotional depth, charisma, vulnerability, and convincing chemistry with Peter. Also plays: Cast 3 Grace Chasity Mezzo-Soprano / Soprano Belt Suggested Vocal Range: A3–E5 A devout Christian and self-appointed guardian of morality at Hatchetfield High. Grace is intelligent, disciplined, earnest, socially awkward, intensely repressed, and utterly convinced that she is doing the right thing. As supernatural chaos forces her carefully controlled worldview to fracture, her behaviour becomes increasingly extreme and unpredictable. Requires excellent comic timing, strong acting, fearless commitment, sincerity, and the ability to make Grace’s darker transformation believable. Also plays: Cast 2 Peter Spankoffski High Baritone / Tenor Suggested Vocal Range: A2–B4 Intelligent, awkward, anxious, dryly funny, and painfully self-aware. Pete is a classic “nerdy prude” who has spent much of his school life trying not to attract attention. His developing relationship with Stephanie helps him discover confidence, self-worth, and courage. The role requires strong contemporary musical theatre vocals, emotional honesty, natural comic timing, vulnerability, and excellent chemistry with Stephanie. Also plays: Dan Reynolds, Cast 1 Ruth Fleming Alto / Mezzo-Soprano Character Voice Suggested Vocal Range: G3–D5 An unapologetically strange, enthusiastic, theatrical, and socially awkward outsider. Ruth embraces her quirks more readily than most of her friends, although beneath her confidence lies a genuine desire for connection and acceptance. She is imaginative, loyal, unfiltered, warm, and often unintentionally hilarious. Requires excellent comic timing, bold character work, ensemble awareness, and enough vulnerability to ensure the character never becomes merely a joke. Also plays: Donna Daggit, Emma Perkins, Blinky Richie Lipschitz Tenor / Character Tenor Suggested Vocal Range: B2–B4 A proud geek, anime fan, gamer, and member of Hatchetfield High’s nerdy outsider circle. Richie is enthusiastic, expressive, loyal, optimistic, socially awkward, and intensely passionate about the things he loves. He knows other students think he is weird, but unlike Pete, he is increasingly comfortable owning it. Requires high energy, excellent comic timing, strong ensemble instincts, emotional depth, and fearless commitment. Also plays: Reporter 1, Cast 4, Paul Matthews, Wiggly Detective Shapiro Track - Includes: Detective Shapiro, Nerd, Brenda, Reporter 2 Solomon Lauter Track - Includes: Cop, Jason, Solomon Lauter, Pokey Mark Chasity Track - Includes: Officer Bailey, Kyle, Mark Chasity, Announcer, Tinky Karen Chasity Track - Includes: Miss Mulberry, Nerd, Miss Tessburger, Karen Chasity, Stacey, Nibbly

Title: The Mysterious Disappearance Presented By: Footlights Theatrical Inc. Genre: Play / Mystery / Drama Synopsis: The Mysterious Disappearance by Kirt Shineman is not an Agatha Christie mystery, but a play about Agatha Christie. Set in Christie’s home in December 1975, the story finds the legendary author under pressure to finish her autobiography and final novel before the new year. But her mind keeps returning to 1926, when Nancy Neele stole the affections of her first husband, Archie. With the help of Mary Westmacott, Christie’s literary alter ego and a construct of her own mind, Agatha begins imagining what it might have been like to murder Nancy. When Nancy suddenly turns up dead, the pair begin investigating. But as Agatha moves increasingly between reality, memory, and fantasy, another mystery emerges: did she really kill Nancy, or is the thing truly disappearing Agatha’s own memory? The production explores Christie’s famous 1926 disappearance alongside her declining memory, aphasia, imagination, and extraordinary deductive mind. Audition Date: Wednesday 12 August 2026 Audition Time: 15-minute audition timeslots available by request. Audition Location and Address: Footlights Studio, 83 Roseneath Parade, Wynnum West QLD Audition Self-Tape Due (if applicable): Wednesday 12 August 2026 Video submissions are accepted. Auditionees may upload their monologue via Google Drive instead of attending in person. Ensure the link is accessible to anyone with the link. Audition Requirements: Prepare a one-minute monologue, either dramatic or comedic, from a contemporary play. Auditionees may either: Attend an in-person 15-minute audition timeslot; or Submit a recorded monologue via Google Drive. Callbacks will be held on Monday 17 August 2026 if required. Audition Registration: Complete the Audition Form Audition Pack: View the Audition Pack Performance Dates: Friday 9 October 2026 - Saturday 10 October 2026 Performance Location: Morningside School of Arts Rehearsal Dates: Rehearsals commence from 23 August 2026 and continue until bump-in on Monday 5 October 2026. Rehearsal Times: Tuesdays – 7:00pm–9:30pm Thursdays – 7:00pm–9:30pm Sundays – 2:00pm–5:00pm Rehearsals will initially be held at the Footlights rehearsal space in Wynnum West. From bump-in on 5 October, rehearsals will move to Morningside School of Arts. Warnings: Themes include memory loss, aphasia, murder, death, marital infidelity, and imagined violence. Performer Age: Adult performers. Playing ages range predominantly from 50+ to 80+ Creative Team: Director – Roslyn Johnson Production Website: Footlights Theatrical Auditions Other information: This production is being presented in partnership with Morningside School of Arts as part of its centenary celebrations. Footlights Theatrical has received a small grant from Brisbane City Council, allowing performers to receive a small honorarium. The production is also seeking 1–2 vocalists to perform Postmodern Jukebox-style song excerpts, adding atmosphere and helping connect the contemporary storytelling with the 1926 memory sequences. Available Roles/Character Breakdown: Dame Agatha Christie Female-presenting | Playing age 80+ The central role and rarely leaves the stage. Agatha is nearing the end of her career and beginning to experience aphasia and memory confusion. She moves seamlessly between reality, memory, and fantasy as the boundaries between them begin to dissolve. Her formidable intellect remains intact, but her ability to express herself is gradually diminishing, often without her awareness. Mary Westmacott Female-presenting | Playing age 80+ Agatha’s alter ego and a mental construct visible and audible only to Agatha. Mary gives Agatha a way to articulate memories, theories, and deductions. She knits, drinks tea, and represents the sharp deductive powers of Christie’s mind. A substantial role appearing in almost every scene. Rosalind Hicks Female-presenting | Playing age 50+ Agatha’s daughter from her first marriage to Archie Christie. Rosalind has stepped away from her legal practice in London to become her mother’s carer. Tony Hicks Male-presenting | Playing age 50+ Rosalind’s well-meaning and somewhat clumsy husband. Harry Maynard / Archie Christie / Billy Collins Male-presenting | One performer plays all three roles. Harry Maynard – An elderly man appearing only in the prologue. Archie Christie – Agatha’s first husband, appearing during flashbacks to 1926. Billy Collins – Agatha’s editor, appearing during fantasy and hallucination sequences in which Agatha repeatedly murders him. Vocalists – 1–2 performers Performers are sought to provide atmospheric Postmodern Jukebox-style song excerpts, connecting the play with its 1926 sequences and enhancing the event styling.

Footloose: Youth Edition Presented by: Communication in Action Venue: Talbot Theatre, Thomas Dixon Centre Date Attended: 1 August 2026 Director: Tim Hill Musical Director: Jacqui Devereux Choreographer: Justin Anderson Photography: By B'rit Creative “Honouring their memory by shutting out the world isn't working.” For a musical best known for dancing, denim, and Kenny Loggins, Footloose has a surprisingly serious point to make. Grief has settled over the small town of Bomont, and Reverend Shaw Moore’s response has been to tighten his grip on everyone around him. Dancing is banned, teenagers are curfewed, and having fun is viewed as a dangerous slope towards catastrophe. Then Ren McCormack arrives from Chicago, eager to shake things up with his energetic spirit and complete inability to stand still. Communication in Action’s Footloose brings together a cast spanning all school ages for a compact version of the musical, created in only five intensive rehearsals. At the centre of the production was Diesel Batson as Ren. He had the confidence of a natural leading performer, combining a strong singing voice with charming character, and sharp dance technique. He knew how to command the full stage, and “I Can’t Stand Still” gave him an early opportunity to show exactly what he could do, complete with agile vocal runs, playful acro, and some very cool dance moves. And his acting held up just as well when Ren stopped moving. His frustration at being judged by the town was convincing, and during “I’m Free,” his confrontation with Reverend Moore became so real that I briefly forgot I was watching two teenagers. Both performers found the anger and pain underneath the argument and really went for it. Henry Marsh carried himself with wonderful authority as Reverend Shaw, with rigid posture and a stern delivery that immediately established who was in charge. His voice was rich and secure, while his performance allowed glimpses of the frightened father behind the town leader. Rose Statham brought a powerful soul quality to Ariel’s vocals and plenty of fire to her rebellion. She was especially strong when Ariel pushed back against her father and the authority surrounding her. Statham and Batson also sounded lovely together in “Almost Paradise,” with well-matched tones and harmonies. Their quieter connection gave the show some breathing room between the larger company numbers. The production’s girls were consistently formidable. Ella Reynolds, Emily Carrick, and Lillian Wilson formed a very funny trio as Urleen, Wendy Jo, and Rusty. While several of the youngest performers supplied “Somebody’s Eyes” with an impressive amount of sass (I’m sorry, tiny scene-stealers, I don’t know your names). “Holding Out for a Hero” became a full girl-power showcase, driven by strong solo singing and choreography that gave performers across the group their own moments. Then Lillian Wilson arrived with “Let’s Hear It for the Boy” and attempted to remove the theatre’s roof. Wilson carried the number with extraordinary vocal confidence, producing a belt that would be impressive from an adult performer, let alone someone her age! Her Rusty was excitable and immensely likeable, which made her a great match for Archer Grounds’ equally enthusiastic Willard. Grounds embraced Willard’s awkwardness and broad comedy while keeping him endearing. Jolie Sainsbury felt completely natural as Ren’s mother, Ethel, bringing an easy warmth to the role. Dorothy Grounds also impressed as Vi Moore, particularly in “Can You Find It in Your Heart?” Her lovely vocal tone and controlled delivery made it one of the production’s quieter musical highlights, giving Vi a welcome moment of her own within the larger conflict between Shaw and Ariel. Among the supporting cast, Cooper Wolski made an impression as the Principal. That guy is destined to become either a school principal, a politician, or somebody who carries a clipboard and expects answers. His authority was startlingly convincing. Henry Woodward also used every second of the Coach’s limited stage time and absolutely made those few appearances count. Joshua Ngo gave Chuck an appropriately threatening edge, while Darci Allen, Bella Pietrobon, Bharathi Kumar, Saana Chang, and the remaining featured performers helped populate Bomont with distinct personalities. One of the strengths of this adaptation was just how many speaking and musical opportunities were spread throughout the ensemble. Tim Hill and Justin Anderson made smart use of the wide Talbot Theatre stage, creating formations that gave the large cast plenty of room to move. With so many bodies regularly flying around, there was always something to catch the eye. Jacqui Devereux’s musical preparation was equally apparent. The company harmonies were confident, particularly during the final “Footloose,” and the lead vocals remained secure despite the amount of movement involved. The finale brought the whole company together with partner work, strong harmonies, and the satisfying sense that Bomont had finally unclenched its collective jaw. Digital projections established each setting, moving between the church, school, diner, council meeting, and country dance hall. The screen became a useful visual anchor, while the open playing space allowed Anderson’s choreography to spread out. The audience rat run was also used to vary the blocking and bring parts of the action closer. Costumes immediately placed us in small-town America with denim, plaid, florals, and plenty of boots, while the American accents were remarkably consistent across such a wide range of ages. As I attended the dress rehearsal, my only performance note is very much a dress-rehearsal one. A few students could continue working on keeping their eye-lines lifted and their faces open to the audience. With so many performers sharing such a large stage, looking down or turning inward can make an individual disappear surprisingly quickly. Communication in Action’s young performers were remarkably disciplined. There were strong voices across the cast, standout dancers, and several young actors who already know exactly how to hold a stage. Footloose gave this enormous group of young performers plenty of room to show what they could do. By the final number, the stage was completely theirs, and they looked like they were having an absolute ball owning it.