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Title:  Jekyll & Hyde: The Musical Presented By:  Swich Up Productions Genre:  Musical Theatre Synopsis:   Jekyll & Hyde: The Musical  is a gripping tale of a brilliant mind torn between good and evil, based on the classic story by Robert Louis Stevenson. The musical explores the duality of man as Dr. Henry Jekyll, a kind and passionate scientist, transforms into the malevolent Mr. Hyde, unleashing a reign of terror in Victorian London. Audition Date:  October 12, 13, and 14, 2024 Audition Location and Address:  Fire Station 101, 101 Limestone St, Ipswich QLD Audition Registration: To register your interest, complete the following form: Register Here Audition Pack:  The audition pack will be sent to those who register their interest when it is ready. Performance Dates:  March 7-9, 2025 Performance Location:  Ipswich Civic Centre Rehearsal Dates:  Late October 2024 (with a six-week break over Christmas) Warnings:  This show contains mature themes and intense scenes of violence. Director:  Timothy Wynn Character Breakdown Henry Jekyll / Edward Hyde (Vocal Range Bb2 - A4) Jekyll is a doctor obsessed with discovering the true nature behind the good and evil in man. After he uses an experimental formula on himself, his evil side - Edward Hyde - takes control. As Hyde, he is violent, commanding, and a sexual deviant attracted to Lucy. Lucy Harris (Vocal Range G#3 - F#5) The gorgeous 'main attraction' at a local gentleman's club. At the bottom of her luck, she becomes the object of Hyde's obsession. Lucy is feisty and wild, but also cautious and aware. Emma Carew (Vocal Range A3 - C6) The daughter of Chairman Danvers and Jekyll's beloved fiancée who is refined and desired by all of the socialite men. Gabriel John Utterson (Vocal Range B2 - F#4) Serves as Jekyll's lawyer and helpful friend. He advises the troubled doctor on personal and professional affairs. Sir Danvers Carew (Vocal Range C3 - F#4) Emma's loving father and Chairman of the Board of Governors. A charming and gentle man. Simon Stride (Vocal Range A2 - G4) The secretary of the Board of Governors and Jekyll's rival for Emma's affections. Lady Beaconsfield (Vocal Range G3 - E5) Elitist member of the Board of Governors who does not approve of Dr. Jekyll in any way. Bishop Of Basingstoke (Vocal Range C#3 - G4) A hypocritical, sadistic man of the cloth and a member of the Board of Governors. Lord Savage Member of the Board of Governors. General Lord Glossop (Vocal Range G#3 - C4) A pompous retired army man and member of the Board of Governors. Sir Archibald Proops Member of the Board of Governors. Ensemble (Aristocrats, Citizens, Servants, Party Guests, Prostitutes, Policemen)

Observatory Theatre's ' Disney Off Ice' is a thrilling mix of satire, dark humour, and sharp social commentary. Taking place in 2097, this dystopian sci-fi piece, penned by Oliver Gough and directed by Lachlan Driscoll, imagines a scenario where Walt Disney is thawed from cryogenic slumber, only to throw him into a world he can no longer recognise—a world where capitalism has run amok, the environment is a desolate wasteland, and Disney’s beloved creations have become distorted echoes of their former selves. The show takes place at the versatile Studio1 in Yeronga, featuring a set design with basic furniture that undergoes a colour transformation during the performance. A screen positioned at the rear serves as a scrim for displaying Disney cartoons, pre-recorded videos of our characters, and AI-generated visuals portraying a deteriorated Disneyland. Particularly striking is its use for the eerie silhouette of Disney's 'rebirth' from his frozen chamber. We learn that the cryotech company 'Pause' is hoping to exploit Disney's legacy as a marking tool. Their business model: use ‘legacy’ unfreezings to gain media attention and more wealthy customers. Their motto: "Communalism, nostalgia, wonder". This original script is intelligent, witty, and sharply satirical, providing a critical analysis of how media and algorithms have curated our lives to the point of having a "shared-spectacle-sized hole in our society." Chris Kellett delivers an exceptional performance as the irritable and bewildered Walt Disney. From the moment he's unthawed and swaddled in a Mickey Mouse blankie, it's clear that this is not the Walt we know of. Kellett captures the essence of a man displaced in time, distrustful, and cranky, desperate to return to his frozen state of peace. His accent is excellent, and his frenzied outbursts, like his disapproval of the decline in handcrafted work and the company's ventures into new territories like the 'Disney Channel', are humorous. As he descends into madness, he experiences hallucinations of his former employees, begins sketching erratically and starts smoking what eventually becomes a crayon; a subtle touch of his deteriorating mental state and disconnect from the real world. Kellett's portrayal is so authentic that I was completely engrossed, forgetting that I was actually watching an actor. Lines like “You gave me a crash course on the fall of the creative industries. I’m being tortured by watered-down, bastardised versions of my creations,” are delivered with chilling intensity that evokes pity.   The supporting cast is equally impressive. Rebekah Schmidt's portrayal of Joanna is the epitome of corporate aggression—a sharp, cunning character who delivers her monologues with candour and tenacity, both on screen and in person. Her commentary on Disney’s legacy—"Definitely racist, probably sexist"—is both biting and witty, a reflection of the uncomfortable truths that the play doesn’t shy away from. Ophelia Novak and Audrey Allen-Moore, who play dual roles as the 'Pause' company owners and press conference hosts, bring a comedic charm with their exaggerated corporate personalities and uncannily authentic newsreader impressions. Lachlan McGeary and Beau Doyle, portraying Ajax and Bruno, introduce an additional layer of intrigue as they plan to liberate Walt before he falls completely under the influence of 'Pause.' The group known as the ‘Merry Band’ is a future cult of 'Disney-adults', led by Ajax and Bruno, dressed as Gaston and Le Fou. Their belief that “Disney was not meant for capitalism” is both ironic and poignant as they revere Disney stories as if they were sacred texts and Walt as a messianic figure. With manic energy, Walt leans in and passionately delivers his manifesto to his followers: "You're all mad. But all the best people are. That's scripture. -Alice!" McGeary and Doyle are dramatically effective, with their exaggerated, youth pastor/tyrant-like antics. The line, "Bruno and Ajax would be terrifying if they weren't so sad," captures their tragicomic essence perfectly.   The show’s midpoint, marked by a scene change set to upbeat music as Disney does a little dancey-dance, is a brilliant piece of staging. The portrayal of Disney as outdated, unable to appease anyone in a world that demands constant performance, feels eerily prescient, particularly as we witness his fall from grace the moment Steve Jobs is defrosted and becomes the new focal point. As Disney is tormented by hallucinations of his own creations—the Cheshire Cat, Disneyland tourists, Peter Pan—we see the ultimate irony of his situation. We witness Walt’s desperation for a magical escape from his struggles. And he gets it. Being 'frozen' once again, this time by none other than Elsa, is a poignant metaphor for seeking solace in the familiar amidst an overwhelmingly harsh reality. Authored by Oliver Gough, this play balances the dark themes with laugh-out-loud moments. The actors' ability to articulate complex dialogue at breakneck speed is impressive, even if it's occasionally difficult to process everything they're saying—a challenge I attribute more to my own auditory processing than their performance. Still, Disney Off Ice has left me with plenty to ponder. It compels one to reflect our on current trajectory as a society. The juxtaposition of humour and horror generates a dissonance that is both engaging and unsettling, like an episode of Black Mirror  come to life. The lighting in the space creates a sense of depth and atmosphere that makes the audience feel as though they, too, are trapped in this surreal, satirical world. The sound effects, especially the Kim Possible tone used as a notification sound, evoke feelings of nostalgia. Incorporating pre-recorded videos to reveal the characters' inner turmoil while we observe them in person is a clever detail that enhances the complexity of both Walt and Joanna. In a world where everything is commodified and even our icons can be bought and sold, Disney Off Ice serves as a cautionary reminder of the dangers of unchecked capitalism and the fragility of artistic integrity. As the play suggests, we may already be living in the surreal future it depicts—and that’s perhaps the most chilling thought of all. This play is 90 minutes of controlled chaos that challenges our perceptions of legacy, entertainment, commerce, and morality, all while making us laugh at the absurdity of it all. With the standout performances, sharp writing, and a concept that feels all too relevant, Observatory Theatre’s latest production is a must-see for anyone who enjoys theatre that makes you think—and maybe squirm a little in your seat. Now playing until 1st September, 2024. Tickets available here. Images by Anderson.

Heartwarming Productions dished up this deliciously entertaining musical for just two performances at Metro Arts, and it was a buffet of laughs! 'Five Course Love the Musical' by Gregg Coffin is a comedic whirlwind of love in its many, often ridiculous, forms. This short-and-sweet musical was brought to life by the talented trio of David McLaughlin, Emily McCormick, and Tomer Dimanstein. These three actors played an impressive fifteen characters across five wildly different restaurants, each scenario more ludicrous and entertaining than the last. McCormick, wearing multiple hats as director, producer, and performer, ensured the show was a tightly executed, fast-paced romp.   The evening kicked off at Dean’s Old-Fashioned All-American Down-Home Bar-B-Que Texas Eats . What a mouthful! McLaughlin, as Matt, opened the show with " A Very Single Man" . Clearly in his element, he played a goofy, lovesick character, all while dazzling under the most gloriously over-the-top disco ball I've ever seen. His comedic timing is razor-sharp, making Matt’s dorky charm utterly endearing, even when he’s clearly not the 'Ken' that Emily McCormick as 'Barbie' was searching for. Dimanstein’s entrance as the overly-friendly waiter added another layer of hilarity as his stereotypical Southern accent and country tropes were delivered with a wink and a nod. Next, we were whisked away to Trattoria Pericolo , a world of mobsters and secret trysts. McCormick, now the sultry Sophia, and Dimanstein now the panicked waiter Carlo, delivered a melodramatic performance in "If Nicky Knew" that could have rivalled any soap opera. McLaughlin transformed into Gino, the suave mobster having an affair with Sophia. Their duet, "Give Me This Night," was gorgeous, with McCormick’s stunning operatic tones and McLaughlin's highly controlled vocals. The exaggerated Italian accents and mafia stereotypes were a laugh, with the actors fully embracing the melodramatic flair. As the show progressed to Der Schlupfwinkel Speiseplatz, the absurdity reached new heights. Dimanstein’s haunting solo, "Shelter-Lied," as Heimlich was unexpectedly different and mesmerising to behold. I was spellbound as he delivered each note with haunting intensity, showcasing that Dimanstein isn’t just a comedic talent but a powerhouse performer capable of evoking intense emotion. McCormick as Gretchen was also intense, as she stared down the audience in "No is a Word I Don’t Fear." The trio’s performance of "Der Bumsen-Kratzentanz," was a riot, as the three characters all discover that they are dating each other! McLaughlin as Klaus, a lederhosen-clad, doe-eyed cutie, was pure absurdity at its finest - and the actors were clearly having a blast in this number.   The penultimate act in Ernesto’s Cantina brought us a hilarious Mexican standoff, complete with sombreros and ponchos. McLaughlin’s portrayal of Guillermo, who incessantly interrupted and "corrected" Ernesto, played by Dimanstein, in " The Ballad of Guillermo" , was reminiscent of the hilarious dynamic between Chevy Chase and Steve Martin in 'The Three Amigos' . The exaggerated Mexican accents and clichéd characters, from the brash bandit to the passionate señorita, were all delivered with a playful energy. The slapstick humour during " Come Be My Love/Pick Me" , where McCormick was literally dragged around the stage as Rosalinda and McLaughlin's moustache kept falling off, had me obnoxiously laughing out loud. Dimanstein’s lead in " Blue Flame" was the evening’s standout number – a perfect blend of impressive vocals with an Abba-style harmonic flair. The final restaurant, The Star-Lite Diner , brought the show full circle. McLaughlin as the American jock Clutch, paired with McCormick as Kitty, evoked a delightful Grease -like vibe for "It’s a Mystery." The revelation that Kitty has been reading romance novels all along, with these larger-than-life characters merely figments of her daydreams, tied the show together in the cutest way possible. Her final number, "Love Looking Back at Me," was a surprisingly relatable moment of introspection. Dimanstein, in his role as Cupid – quite literally – tied together the various romantic misadventures we’d witnessed throughout the evening. The set – a restaurant table, heart arch, and a few strategically placed plants – was sweet, with the actors moving on and offstage constantly, keeping the energy high and the pace brisk. The quick changes must have been as chaotic behind the scenes as I imagine, but you’d never know it from the polished performances. The live band, led by Musical Director Dominic Brennan on keyboard, with Callum Pascoe on drums and Declan Fletcher on bass, provided the perfect accompaniment to the actors’ performances and brought Coffin's catchy tunes to life. Peter Van Brucken’s sound design ensured that every lyric and note was clear, allowing the audience to fully appreciate the witty wordplay and intricate harmonies. Claire Yorston’s lighting design matched the rapid changes in tone and location, keeping the audience immersed in the wild ride.   In the end, Five Course Love was more than a series of romantic misadventures – it was a showcase of extremely versatile performers, smart direction, and witty writing. It was a theatrical feast that leaves you laughing, humming the tunes, and maybe even craving a little romance of your own. If you missed this delectable slice of musical comedy, you truly missed a treat. Here’s hoping this is one course that gets served up again soon! Photos by Luke Monsour, Bulimba Studios

Title:  Credulous Presented By:  Verum Arts Genre:  New-age Jazz Musical Synopsis: Credulous  is a new-age jazz musical that explores themes of grief, family, and betrayal, questioning how far we are willing to go for love. The story follows Aida, a credulous young woman who has suffered the tragic and sudden loss of her partner Toby. With the help of her mother, Lydia, and a flamboyant magical being called Venus, Aida must decide how far into the afterlife she’s willing to delve to bring the love of her life back. Audition Dates: 04/09/24 (Wednesday) - 6:00 pm to 8:00 pm 06/09/24 (Friday) - 9:00 am to 12:00 pm 07/09/24 (Saturday) - 9:00 am to 12:00 pm Audition Location and Address: Visible Ink Youth Hub, 5 Green Square Cl, Fortitude Valley QLD Call-backs: 20/09/24 (Friday) - 6:00 pm to 8:00 pm Rehearsal Dates: Every Tuesday and Wednesday, 6:00 pm to 9:00 pm. Commencing October 2024, with a two-week break over Christmas and New Year. Performance Dates: 14th & 15th February 2025 21st & 22nd February 2025 Performance Location: (To be announced) Audition Requirements: Excerpts:  Prepare 1 or 2 monologues/duologues from the provided character excerpts. If auditioning for multiple characters, prepare each character's excerpt(s). Singing:  Prepare one character song from the pack and 1 minute of a song of your own choosing. Additional:  Be ready to perform aural and pitch exercises if instructed. Available Roles: AIDA Description:  A headstrong and passionate young woman, Aida is grieving the sudden loss of her partner, Toby. Her character is central to the story as she grapples with her emotions and faces the difficult decision of whether to try and bring Toby back from the afterlife. Aida is the emotional heart of the show, displaying vulnerability and strength in equal measure. Gender:  Female Presenting Age:  Mid 20s Vocal Requirements:  Leads in 5 songs, supports in the rest. TOBY Description:  Toby is Aida’s partner who dies early in the story. He lingers as a memory, haunting Aida and driving her to consider the dangerous journey to bring him back. Toby’s presence is pivotal, serving as both a comforting memory and a reminder of Aida’s loss. Gender:  Male Presenting Age:  Mid 20s Vocal Requirements:  Leads in 3 songs, supports in the rest. LYDIA Description:  Lydia is Aida’s mother, a kind but practical woman with a sharp wit. She is deeply concerned for Aida’s wellbeing and reluctantly joins her daughter on the journey to recover Toby. Lydia is sceptical of Venus and the entire plan, providing a voice of reason throughout the narrative. Gender:  Female Presenting Age:  Middle Age Vocal Requirements:  Leads in 2 songs, supports in the rest. VENUS Description:  Venus is a Pothin, an otherworldly, flamboyant, and mysterious being who offers Aida the chance to bring Toby back from the dead. Venus is charming, enigmatic, and possibly hiding ulterior motives. Their presence is both enticing and ominous, adding a magical and unpredictable element to the story. Gender:  Any Gender Age:  200s (20s) Vocal Requirements:  Leads in 3 songs, supports in the rest. ROSIE Description:  Rosie is Aida’s well-meaning but somewhat oblivious co-worker. She is overly invested in her cats and often finds herself rambling about them. Despite her quirks, Rosie is earnest and tries her best to be a supportive friend to Aida. She provides comic relief and warmth in contrast to the heavier themes of the show. Gender:  Female Presenting Age:  Mid 20s Vocal Requirements:  Supporting vocals. THE WHISPERS (Whisper R & Whisper C) Description:  The Whispers are Venus’ mischievous servants and companions. They are playful, sneaky, and prone to getting into trouble. These characters add a layer of physical comedy to the show, often engaging in slapstick and mime. They help Venus carry out their plan, though they may not always be entirely reliable. Gender:  Any Gender Age:  Any Age Vocal Requirements:  Supporting vocals. CARI Description:  Cari is Venus’s parent, an ancient being who understands the workings of the afterlife. They teach Aida about the strange and mystical aspects of the realm beyond, serving as a guide through the unknown. Cari’s knowledge and wisdom contrast with Venus’ more chaotic energy. Gender:  Any Gender Age:  Any Age Vocal Requirements:  Leads in 1 song, supports in the rest. Creative Team: Directors:  Arina Dara, Ernest Corbet Music By:  Max Berger, Alex Wilson Head Writer:  Phoebe Quinn Producer:  Nathan Chan Audition Pack:   Google Drive Including Music, Excerpts, Lyrics and More Audition Registration:   Simply Book to book your 15 min audition time slot

Title : Annie Presented By: Brisbane Musical Theatre (BMT) and Brisbane Junior Theatre (BJT) Genre : Musical Theatre Synopsis: Annie  is an uplifting story set during the Great Depression. It follows an 11-year-old orphan named Annie, who dreams of finding her parents. After escaping from the cruel Miss Hannigan, she finds a new family with billionaire Oliver Warbucks, but her journey to happiness is fraught with challenges, including the conniving plans of Miss Hannigan and her brother Rooster. The story is filled with hope, love, and the belief that tomorrow will be a better day. Written By: Music by Charles Strouse, Lyrics by Martin Charnin, Book by Thomas Meehan. Audition Info Audition Date: Saturday, 14th September 2024 Audition Time: 1pm, 2pm, or 3pm Audition Location and Address: Emerge Church, 1 Coorparoo Place, Warner (Upstairs Room) Audition Requirements: Prepare 32 bars of a song of similar style for lead roles. Please bring your sheet music on the day. Audition Registration: Call/Text Sara Reynolds at 0404 891 400 or email sara_reynolds@mac.com  to book your audition time. Audition Pack: Click here Available Roles: Lead Roles: Annie : Mezzo Soprano (F5-A3), Age 11 or looks it on stage. Warbucks : Baritone (F4-C3), Age 40-60. Miss Hannigan : Alto (D5-A3), Age 40-60 (mature looking). Grace Farrell : Soprano (G5-A3), Age Late 20’s-40’s or looks it on stage. Rooster Hannigan : Tenor (G4-B2), Age Late teens to early 30’s. Lily St. Regis : Soprano (G5-D4), Age Late teens to early 30’s. Orphans: Molly : Vocal Range (F5-A3), Age 5-8. Pepper : Age 12-14. Duffy : Age 12-14. Kate : Age 8-9. Tessie : Age 8-9. July : Age 8-9. Orphan Ensemble : Up to 6 more orphans. Ensemble: Adults and children playing various roles, including: Bert Healy : Radio personality. Servant Chorus : Adults and older children as Warbucks' domestic staff. New York City Chorus : Adults and children in various scenes throughout New York City. Creative Team: Director/s : Jack Bradford, Jose De Andrade Music Director : Mark Bielby Choreographer : Jada Parsons Production Manager/Assistant Director : Sara Reynolds Important Dates/Info: Open Night : Monday, 9th September at 6:30 pm, Emerge Church, 1 Coorparoo Place, Warner (upstairs room). Auditions : Saturday, 14th September, in hour time slots according to roles. Call Backs : Wednesday, 18th September at 6, 7, and 8 pm (callback songs in pack). Production Fees : $50 production fee and a refundable $25 script fee (redeemable upon script return in original condition). Rehearsal Times (Beginning October 6th, 2024) Sundays: 12:30 PM - 3:30 PM Mondays: 6:30 PM - 9:00 PM Performance Dates: January 9th, 2025 (pm) January 10th, 2025 (pm) January 11th, 2025 (am and pm) Performance Location and Address: Emerge Church, 1 Coorparoo Place, Warner, QLD

Stephen Sondheim's Company is a bit like life itself—funny, poignant, and sometimes leaves you wondering, "What just happened?" This brilliant production by Phoenix Ensemble encapsulates all that and more, offering a delightful, if occasionally bewildering, journey through the trials and tribulations of love, marriage, and the complexities of human connection.   Company, written in 1970 by Stephen Sondheim and George Furth, unfolds as a series of vignettes revolving around Robert—affectionately known as Bobby—a charmingly clueless 35-year-old who’s somehow managed to stay single despite being surrounded by a well-meaning (and somewhat meddlesome) group of married friends. It's Robert's birthday and amidst the typical celebrations of cake and gifts, Bobby finds himself grappling with a personal crisis. Delving into recollections shared with his friends and ex-girlfriends, he embarks on a contemplative journey through memories that encapsulate the highs and lows of relationships, companionship, and the elusive nature of happiness.   From the get-go with "Company," the ensemble tackles Sondheim's signature layered vocals and time signatures that keep your on your toes. The show is clearly well-rehearsed, with each cast member bringing their unique characterisation to the mix from this first moment.   Bobby: The Perpetual Third Wheel Cameron Rollo plays Bobby as both charming and perpetually perplexed—a man who is envious of his married friends, yet visibly relieved not to be in their shoes. His portrayal of a man caught between the desire for companionship and the fear of losing his independence was both relatable and authentic. Cameron speaks volumes through his expressive eyes. They serve as a window into Bobby's soul, allowing the audience to empathise with his internal struggle.   Married Life 101: It’s All Fun and Games Until the Karate Kicks In The married couples in Bobby’s life, each with their own quirks and dynamics, are portrayed with delightful authenticity. We start with Harry and Sarah, played by Dugald Lowis and Gen Tree, who give us a masterclass in marital discord, complete with bourbon, brownies, and an impromptu karate match. Gen’s impeccable accent and innate talent for comedy complements Dugald’s goofy and endearing demeanour, perfectly capturing the humorous side of marital disagreements. Watching them spar—both verbally and physically—as Meg Kiddle as Joanne serenades us with "The Little Things You Do Together," reminds us that a bit of friendly sparring is just another part of wedded bliss. Bobby's thought-provoking question, "Are you ever sorry you got married?" leads into Harry's introspective musings in " Sorry-Grateful ," where Dugald beautifully balanced the bittersweet emotions of the piece. Andrew Cockroft-Penman convincingly embodies Peter with a flawless NYC accent and subtle nuances that enrich the character's complexity. Clare Thomson shines as Susan, a Southern belle that exudes grace and warmth. Their unconventional relationship brings an invigorating element to the play. Together, they bring a contagious energy to the stage that is sure to bring a smile to your face. Connie Acevedo Burckhardt as Jenny and Chris Batkin as David, delivered some of the most hilarious moments of the evening. Connie’s facial expressions and comedic timing while portraying a ‘high’ Jenny were golden. She nailed the 'middle-aged mum’ voice, despite being a spring chicken. And then there's Chris, who embodied a totally out-of-it, yet somehow wise, stoned David with his hilariously nonsensical performance.   Steph Collins as Amy is nothing short of brilliant in her rendition of " Not Getting Married", a song notorious for its breakneck speed and tongue-twisting lyrics. Amy's detachment during the panic attack perfectly encapsulates getting cold feet in the most humorous yet heartbreaking way. Even Amy's meltdown over warm juice is adorably relatable thanks to Steph. The contrast between Steph's rapid-fire frenzied delivery and Connie’s dramatic operatic interjections (BLESS THIS DAY!), made for one of the funniest moments of the evening. And Steph engaging directly with the audience only added to the hilarity. Timothy Nielson as Paul, Amy's betrothed, is the perfect counterbalance to her neurosis, earning many ‘aww’ moments with his wholesome and unwavering affection for her.   The Girlfriends: A Trio of Trouble Bobby’s romantic past is no less complicated. His trio of past girlfriends—Sarah Engelsmann as April, Ruby Thompson as Kathy, and Samantha Paterson as Marta—each bring something special to the table. Their Andrews Sisters-style trio " You Could Drive a Person Crazy" is a complex and challenging number, and while they were visibly puffed, their harmonies were tight and their energy upbeat! Samantha Paterson’s Marta is a whirlwind of talkative energy, delivering "Another Hundred People" with a chaotic charm that’s impossible not to love. Sarah Engelsmann’s April is the epitome of straightforward honesty. Her self-described ‘dumb and boring’ persona was both endearing and hilarious, particularly during her caterpillar monologue and duet " Barcelona" . Ruby Thompson’s Kathy, the more grounded of the three, balances the trio with her sweet and gentle demeanour, completely epitomising the 'girl that got away'. Additionally, the unexpected inclusion of her remarkable contemporary dance performance (while April and Bobby woo-hoo in bed) is truly beautiful.   A Beautiful Mess of Relationships As Bobby delves deeper into his memories, we are treated to some of the most memorable numbers. "Side by Side by Side" is a show-stopping, tap-dancing, circus act of a number that’s as fun to watch as it must have been to perform. Meg Kiddle's portrayal of Joanne shines in a vocally impressive rendition of " The Ladies Who Lunch ." In his rendition of " Marry Me a Little ", Cameron captures Bobby's tender and vulnerable exploration for clarity in life and love. The famous " Being Alive " never fails to elicit deep emotions and chills for me (or anyone who has pondered the intricacies of company versus loneliness). Cameron's heartfelt performance is a testament to his skill as a performer, immersing the audience in the profound beauty of Sondheim's masterpiece. Even if his voice showed signs of fatigue by the end, Cameron delivered this emotional odyssey with unwavering commitment and sincerity. And hey, who wouldn’t be a little worn out after dealing with all those couples?   Final Thoughts The challenging musical score is richly enhanced by the live orchestra, with musical direction by Jacqueline Atherton. The set, created by the directors Tammy Sarah Linde and Luke O'Hagan, is uncomplicated, featuring three blocks and empty picture frames as the backdrop for Bobby's interactions. This minimalist design allows the actors to shine, keeping the focus on their performances. The costumes include complementary clothing and matching rings for each couple, a subtle and thoughtful detail to symbolise their bonds. Phoenix Ensemble’s Company is a well-executed production that truly captures the essence of Sondheim’s award-winning exploration of love, marriage, and friendship. By the end of the night, the audience felt a little less like spectators and a little more like a part of Bobby’s company of friends. As someone who is approaching 35 myself, Bobby’s journey felt like a glimpse into a future I’m not sure I’m ready for—but if it’s anything like this show, at least it’ll be entertaining! Tickets are available here

On the 9th of August, Ghostlight Theatre presented their new cabaret show, Broadway Murderers , at the Ron Hurley Theatre. The event paid homage to some of Broadway's more sinister characters, with proceeds aimed at supporting their next mainstage production. But I’m already crossing my fingers that this theme becomes a regular cabaret fixture at Ghostlight. Who knew a night with Broadway’s baddies could be so much fun? The audience was full of theatre buffs who could not resist lip-syncing along to each number. The cast were a veritable murderers' row of talent: Rhea Basha, Yasmin Elahi, Adam Goodall, Patrick Oxley, Benjamin Oxley, and Maegan Weir. Each of these Brisbane performers brought something unique to the table, showing off an impressive range of vocal abilities. I have witnessed all of them perform in the past, yet this time they each stopped into the spotlight in a brand new way. Backing them were musicians from Viva La Musica , featuring a piano, percussion, cello, and flute. These musicians were the unsung heroes of the night, bringing richness, colour, and a fresh sound to every number. Despite not having a Sitzprobe until the day of the show, their smooth performance made it hard to believe the tight turnaround. The night started with a bang—or should I say, a ballad —as the whole cast gathered for the 'Ballad of Sweeney Todd.' It was a dark and fitting opener, setting the mood perfectly. Reagan Warner, our fabulous host for the evening, slinked onto the stage as Sweeney himself, exuding menace with his sonorous voice and mysterious coat. Patrick Oxley then took over the role of Sweeney, with Maegan Weir as his equally twisted partner in crime, Mrs. Lovett. Their duet was a delightful dance of eerie and playful, with Patrick’s gleaming blade and Maegan’s sly grin. Rhea Basha transformed into Ursula from The Little Mermaid for 'Poor Unfortunate Souls'. Rhea is the kind of performer who could sing the phone book and make it mesmerising, but as Ursula, she was electrifying. Her vocals were impeccable, and the juxtaposition between her real-life sweetness and the character’s villainy was simply brilliant to witness. The evening took a turn with a rock version of 'Phantom of the Opera.' Yasmin Elahi and Patrick Oxley delivered a lively and dynamic rendition that revitalised the classic duet. Patrick’s demeanour made him an excellent Phantom, while Yasmin’s melodious voice twinkled with emotion, even if I was left scratching my head about Christine’s supposed murderous tendencies during 'Wishing You Were Somehow Here Again.' Patrick then swooped back in with 'Music of the Night'. His impressive control and vocal range were on full display, captivating the audience with every note. Rhea and Ben rocked the stage with their sassy rendition of 'The World Will Remember Us' from Bonnie & Clyde , followed by Adam Goodall unleashing his inner villain with 'Raise a Little Hell'. His gritty and raspy performance as he stared down the audience created a suspenseful vibe. It's a tough song, but Adam crushed it.   Maegan Weir brought the house down with 'Bring on the Men' from Jekyll and Hyde . This was her moment to shine, and she did not disappoint, balancing powerhouse vocals with sultry softness. Patrick followed up with a beautiful rendition of 'This is the Moment', a personal favourite of mine, and he did it complete justice.   The night’s energy ramped up with a dip into Heathers territory. 'Seventeen' was a treat, with Rhea and Adam serving up harmonies that hit all the right spots. Adam looked every bit the part of JD, and Ben’s turn in 'Freeze Your Brain' had me convinced that he could play any one of these villains with ease. Ben's vocals always sound so effortless, and his acting was spot-on.   Rhea surprised everyone with a gender-bent rendition of 'Hellfire' from Hunchback of Notre Dame . Donning a hood and cloak, she had everyone spellbound, drawing them into the darkness of the song. Then, the cabaret took another unexpected turn with 'Playing His Game' from Death Note the Musical . Adam and Ben gave it their all, despite the challenge of learning so many lyrics in a short time. It’s not a well-known number, but it was a great addition that added some zing to the show! Maegan showcased her versatility with 'Somewhere That’s Green' from Little Shop of Horrors . Her talent for transforming into different characters was more pronounced than anyone else in the cast. Each role felt distinct, not just in how she altered her vocal delivery, but also in the subtle nuances of her body language and expressions. She embodied Audrey’s vulnerability just as convincingly as she did the sultry power of Lucy. While the others certainly brought their A-game, Maegan’s adaptability and commitment to each character brought a fully-realised persona to every song she performed. The duo of Rhea and Ben delivered a sweet rendition of 'Suddenly Seymour', a crowd-pleaser that may be a tad overdone—though they still managed to bring a fresh warmth to it.   The night’s penultimate number was 'Unworthy of Your Love' from Assassins , a hauntingly beautiful duet between Yasmin and Adam that added a final note of darkness before the grand finale. And what a finale it was! The cast united for 'Cabin in the Woods' from Evil Dead the Musical . It was an surprisingly upbeat, chaotic, and wonderful way to end the night filled with some of Broadway’s most notorious characters.   If I had to nitpick, my one tiny letdown was that Reagan Warner, who was our wonderful host, didn’t have a solo number of his own. With such a commanding presence, it felt like a missed opportunity. But overall, Broadway Murderers was a killer night out—pun fully intended—and I am eager to see what Ghostlight Theatre has in store for their next production.

The Anywhere Festival is known for taking theatre out of traditional settings and placing it in unexpected locations. Recently, I had the pleasure of attending 'Hysterical' at the Paint Factory in Yeronga; an entirely improvised performance by the Oh Artemis! Theatre Collective . This show delivered a delightful blend of humour and heartfelt moments that had the audience laughing one minute and wiping away tears the next. The team transformed a large, echoing space into an intimate living space, complete with fairy lights that guided us to our seats. This inviting setup was more like gathering at a friend’s house than attending a traditional theatre performance—if your friend just happened to have an enormous warehouse at their disposal. Before the show started, we were invited to paint on blank cans with words that have been used to label us in our life. Mine? ‘Teacher’s pet.’ Others painted labels like ‘dramatic,’ ‘just a mum,’ ‘princess,’ 'weird,' and ‘snob.’ These cans then became part of the set, a literal reminder of the labels we all carry, whether they’re accurate or not. This clever touch blurred the lines between audience and performer, making us all feel a bit more invested in what was to come.   The beauty of 'Hysterical' lies in the unpredictability of improvisation. Guided by the talented Noelle Greenwood, the cast—Kelsey Hamill, Liz Talbot, and Chris Milne—brought to life in real-time scenes inspired by anonymous journal entries. There is a special feeling in realising that what you have seen is unique, a work of art created at that exact moment, never to be duplicated. This is the essence of improvisation—it's a shared experience between the performers and the audience that lives only in the memories of those present. The audience randomly selected three journals for the actors to use to inspire a 15-minute improvised scene. The structure was simple yet effective: the journal entry was read aloud while 'labels' for the character were established through interjections from the other cast members, and then the scene unfolded with each actor taking turns stepping in, transitioning between different characters and time periods as the story progressed.   Liz Talbot kicked off the first scene with the tale of a high-schooler juggling teenage angst and future career dreams of becoming a ‘medical marine biologist lawyer’. Who hasn’t felt the pressure to be everything all at once? The scene tracked her journey from ambitious schoolgirl to disillusioned 20-something living at home, and finally to a content 30-something running a marine wildlife sanctuary. Liz handled the progression from youthful idealism to adult reality with a deft touch. The second scene shifted focus to a couple planning a trip to Europe while dealing with conservative family expectations. Chris Milne and Kelsey Hamill’s quick-witted banter had the audience laughing out loud, while Liz Talbot’s turn as the conservative grandmother was a hilarious display. Kelsey's portrayal of a character trying to navigate societal pressures while staying true to her desires was particularly engaging. The ease with which she played off the others' lines created a dynamic that was both funny and oddly relatable. The final journal entry, dealing with a cervical cancer diagnosis, brought a sobering shift in tone. The performers handled this delicate subject with sensitivity, delivering a scene that was both touching and saddening. One particularly memorable moment involved Noelle's character discussing her infertility with her husband, played by Chris. A leap forward into the future revealed Noelle's character finding solace in her role as a fun auntie, juxtaposed with the guilt of her husband's sacrifice and apparent acceptance that he will never be a father. Adding to the atmosphere of this performance was a pianist improvising background music, with lighting that subtly shifted to match the mood of each scene. The epilogue, where each character returned for a ‘where are they now?’ moment, provided a satisfying conclusion to the evening, allowing the audience a glimpse into the future of these characters.   Improvisation takes A LOT of creativity and courage. For those who step into the scene first, it’s a daunting task. They have to build the foundation of the scene from nothing, creating a character and a narrative in real-time. It’s a mental juggling act, trying to process what the other actor is saying while thinking about how to respond and crafting a coherent story—all without the safety net of a script. The later actors who join the scene have a slight advantage—they can observe the setup, think about how they want to contribute, and plan their entrance. But this doesn’t diminish the challenge: the pressure to keep the narrative flowing and add something meaningful. As a writer who often struggles to articulate my thoughts even with time and reflection, I’m in awe of how these performers are able to create such clever and witty dialogue on the spot.   I have to wonder how much inspiration is taken from the actors' real lives. There’s an authenticity in their performances that suggests a deep well of personal experience. Whether it’s the awkwardness of family dynamics, the uncertainty of young adulthood, or the bittersweet acceptance of life’s challenges, the actors infused their characters with a sense of realism that made the scenes resonate on a personal level.   So far, 'Hysterical'  has only had two performances, with each show unique to the audience that experiences it. If you have the chance to catch 'Hysterical' in the future, don't miss out—you're guaranteed a fresh, one-of-a-kind experience that’ll have you laughing one minute and reflecting on life’s big questions the next.

Title:   Broadway Reversed Presented By:  Heartwarming Productions Genre:  Musical Revue Synopsis: We're thrilled to announce open auditions for Broadway Reversed , a musical revue featuring iconic songs from beloved shows such as Hamilton , Legally Blonde , Phantom of the Opera , and more. This unique performance will flip the script on some of Broadway's most famous tunes, offering a fresh and exciting take on the classics. Audition Dates:  Sunday, 22nd September 2024 & Sunday, 29th September 2024 Performance Date:  Saturday, 9th November 2024 Matinee:  2:00 PM Evening Show:  7:00 PM Performance Location:  Backdock Arts, 103 Brunswick St, Fortitude Valley Audition Requirements: No dance experience is required for this show, but we're looking for talented singers and performers who can bring energy and creativity to the stage. To receive all the audition information, please email us at heartwarmingproductions@gmail.com .

Title:  Auditions for Almost, Maine Presented By:  Javeenbah Theatre Genre:  Romantic Comedy/Drama Synopsis: On a cold, clear winter night under the ethereal northern lights, the residents of Almost, Maine  explore the complexities of love in unexpected and often humorous ways. Hearts are broken and mended, knees are bruised and healed, in this enchanting midwinter night's dream that offers a magical and whimsical exploration of love. Audition Date:  Sunday, 22nd September 2024 Audition Time:  10:00 AM Audition Location and Address:  Javeenbah Theatre, Corner Ferry and Stevens Streets, Nerang Audition Requirements: Familiarity with the script is expected, but no memorisation is required. The audition panel will include the production’s creative team and representatives from Javeenbah Theatre. Audition Pack:   Download Here Script:   Read the Script Register:   Sign Up for Auditions Available Roles: The creative team seeks a diverse cast of 19 performers to portray the residents of Almost, Maine . Actors of all ages, genders, and ethnicities are encouraged to audition. The character breakdowns are by scene, as follows: Prologue/Interlogue/Epilogue:  Pete and Ginette, who have been dating for a little while. Her Heart:  East, a handy person, and Glory, a hiker. Sad and Glad:  Jimmy, a heating and cooling tradesperson; Sandrine, their ex, and a salty Waitress. This Hurts:  Marvalyn, someone very good at protecting themselves, and Steve, an open kind person whose brother protects them. Getting It Back:  Gayle and Lendall, a long-term couple. They Fell:  Randy and Chad, or Deena and Shelly, two ‘County people’. Where It Went:  Phil, a hardworking person, and Marci, another hardworking person. Story of Hope:  Hope, who has travelled the world, and a person who has not. Seeing the Thing:  Rhonda, a tough one, and Dave, a not-so-tough one who loves them. Rehearsal Details: Sundays - 27th October, 3rd November, 10th November, and 17th November. Performance Dates: Saturday, 23rd November 2024:  7:30 PM Sunday, 24th November 2024:  2:00 PM Friday, 29th November 2024:  7:30 PM Saturday, 30th November 2024:  7:30 PM Performance Location:  Javeenbah Theatre, Corner Ferry and Stevens Streets, Nerang Production Website:   Javeenbah Theatre Auditions Creative Team: Co-Directors: Jake Goodall and Kaela Gray Associate Directors: Laura Starre, Jocelyn Moore-Carter, CC Dargusch Stage Manager:  Tex Houston

Title:  Agatha Christie's Murder on the Nile Presented By:  Nash Theatre Genre:  Mystery/Drama Synopsis: Kay Ridgeway has always lived a charmed life. With her stunning beauty, immense wealth, and a new husband, she sets off on a honeymoon cruise down the Nile. However, what begins as a picturesque journey soon turns deadly when a brutal murder shatters the tranquillity of their voyage. Audition Date:  Sunday, 25th August 2024 Audition Time:  11:00 AM Audition Location and Address:  The Play Shed, 4 Amity Street, New Farm, QLD Audition Requirements:  No prepared piece required. Cold read from the script. Contact Information: Director:  Sharon White Email:   sharon_white_@hotmail.com Phone:  0400 964 184 Website: Link Performance Dates:  15th November - 7th December 2024 Performance Location and Address:  The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm, QLD Available Roles: Open auditions are held for all roles. We welcome both experienced performers and newcomers. Kay Mostyn   (Mid to Late   30’s)  is a beautiful, wealthy, and entitled woman with a manner of one born to command. She is married to Simon, who was engaged to her best friend Jacqueline de Severac. Simon Mostyn (Mid to Late 30’s)  Kay’s husband and a charming Englishman with a secretive side. While protective of Kay, his true motives may come into question as the plot unfolds. Notably, he was previously engaged to Jacqueline. Jacqueline de Severac (Mid to Late 30’s)  While engaged to Simon she asked her friend Kay to help him find a job, but their plans took an unexpected turn when Simon and Kay fell in love. Feeling betrayed, Jackie maintains a facade of cool composure, yet beneath this lies a determination and passion as she relentlessly pursues the newlyweds on their honeymoon. Canon Pennefather (50’s to 60’s)  is an imposing clergyman, is Kay’s guardian and was her father’s best friend. Throughout the play, he takes on the role of the detective, listening, observing, and offering advice, often unsolicited, to everyone onboard as he investigates the murder and uncovers the truth. Helen FFoliot-Ffoulkes (60’s) She is narcissistic, wealthy, and snobbish who exudes an air of entitlement. She treats her great-niece, Christina, like a servant and consistently makes every situation about herself. Christina Grant (30’s) Miss FFoliot-FFoulkes’s great-niece and companion, is a sweet and sensible young woman with endless patience. Despite her demanding aunt’s expectations of utter obedience, Christina maintains an even-tempered disposition. William Smith   (Mid to Late 30’s) a charismatic socialist with a disdain for the upper class. His unkempt appearance belies his refined voice, hinting at his hidden background. He is smitten with Christina and becomes fiercely protective of her. Louise   (20’s)  the French maid. She has keen perception and sees more than meets the eye, often using her knowledge to her advantage. Dr. Bessner (Late 30’s)  He is a mysterious doctor of unknown origin, claiming to hail from a small country in Europe and speaking some German. He specialises in psychology and mental disorders. As the story unfolds, it is revealed that he harbours a deep-seated grudge against Kay’s father. The Steward (30 + : requires an actor of colour)  a Nubian by origin, serves as the ship’s greeter and primary server of passengers. Always wearing a smile, he exudes amiability and charm, though he only understands about a quarter of what the passengers say to him, he navigates his role with patience and diplomacy, all while maintaining his friendly demeanour. McNaught   (50+   : Small Role)  serves as the ship’s captain. For further information or to register your interest, please contact the director.

At the final performance of Swich Up Productions' 'The Drowsy Chaperone' , a full house enjoyed this lively musical production. This five-time Tony Award-winning musical playfully parodies 1920s musical comedies, featuring a "show-within-a-show" script, colourful characters, and immersive staging. The story follows Janet Van De Graaff, a glamorous showgirl who plans on leaving her dazzling career behind to marry oil tycoon Robert Martin. However, chaos erupts as an array of colourful characters—like the bumbling Latin lover Aldolpho, two gangsters disguised as pastry chefs, the Broadway producer Feldzieg (from Feldzieg's Follies—clever, right?), and Janet’s perpetually tipsy (aka 'drowsy') chaperone—threatens to derail the wedding. With mistaken identities, energetic dance numbers, and a bounty of laughs, the plot serves as a loving tribute to the classic tropes of early American musicals, all wrapped in a layer of self-awareness. All of this unfolds under the watchful eye of our main character—The Man in the Chair—a secluded and devoted musical theatre fan. As he plays the vinyl record of this fictional musical from 1928, he imagines what it might have looked like on stage. The cast, in perfect synchrony, always 'pause' in tableaux whenever he wants to interject his thoughts. This clever interplay between the Man in Chair and the onstage action made it feel as though we were peeking into his imagination, where the lines between reality and fantasy blur in the most delightful way. Adrian Carr, who stepped into the role of the Man in the Chair at the last minute, gave a performance that was truly heartwarming. His portrayal reminded me so much of Robin Williams—endearing, funny, and just a little bit melancholic. As the actual director of this production, Carr's enthusiasm for this musical was palpable. There was a compelling authenticity to his performance that made it seem as though he wasn’t merely playing a role, but rather sharing a piece of himself with us all. The set, also designed by Adrian Carr, beautifully captured the essence of an apartment/dressing room with meticulous attention to detail. The characters made unexpected entrances from all sorts of places, including the fridge! It was clear that an immense amount of thought and effort went into creating a space that was not only functional but also enriched the whimsy of the storyline. Plus, there's something special about seeing a musical in an old fire station that's been converted into a performance space. The intimate setting really makes the whole experience feel personal, almost like enjoying a show in a friend's living room. The lack of microphones adds to this charm, even though it brought some challenges with sound levels, especially during the musical numbers. Still, the cast's vocals and projection were highly impressive!   The show opened with the lively number "Fancy Dress," introducing us to a cast of quirky characters. Samantha O’Hare was an absolute delight as the titular Drowsy Chaperone. Her entrances, gracefully clinging to the bed as it descended from the wall, were iconic. Her portrayal of the perpetually tipsy chaperone, marked with a martini glass and a Patti LuPone-esque flair, was hilariously entertaining. O'Hare's fantastic jazz vocals were showcased in "As We Stumble Along," where she played the character with a blend of class and chaos. I would love to see her in more comedic roles—she truly has a knack for it. Justin Piper’s portrayal of Aldolpho was the epitome of comedic excess. His exaggerated theatrics kept the audience chuckling, particularly during his self-referential number "I Am Aldolpho." The dynamic between Piper and O’Hare was a delight, with his consistent ignorance of her advances making their scenes together comedic gold. Vivien Wood, in her role as Janet Van De Graaff, captivated with her solo "Show Off". Her voice, as sweet as a turtledove, soared through the theatre during this dazzling display of vocal prowess, prop work, and rapid costume changes.   Nicholas Joy played the over-the-top, loveable, and clumsy Robert Martin. He was a joy to watch, complete with a voice so exaggerated it could rival Prince Edward from Enchanted . His high-energy tap number "Cold Feet," performed alongside James Bird as George, was a crowd-pleaser, even if the sight-lines occasionally obscured their fancy footwork. The sheer exuberance radiating from their faces more than made up for it. Joy's duet with Vivien Wood, titled "Accident Waiting to Happen," was a beautifully sweet moment. Gillian Simpson and Rod Jones embodied the forgetful Mrs. Tottendale and the loyal servant Underling. Simpson's strong classical voice contrasted excellently with Jones' deadpan delivery. Their duet "Love is Always Lovely" was adorable and their scenes were utterly entertaining, especially considering Jones found himself on the receiving end of a spit-take more times than I could count. Tristan James portrayed Feldzieg convincingly as the powerful Broadway producer with a distinctive Jersey accent as if he had truly stepped right out of 1928. Tamara Long brought bubbly energy to the role of Kitty, capturing the essence of the hopeful, air-headed starlet. Douglas Berry and Brendan Dieckmann, as the pastry chefs (definitely not gangsters), were a hilarious duo, bringing slapstick comedy to their number "Toledo Surprise". Elyse Rea shone as Trix in the grand finale "I Do in the Sky." Each actor was perfectly suited for their role, collectively bringing the entire production to life in the vibrant manner envisioned by the Man in the Chair. After a power outage in the Man in the Chair’s apartment, I found myself holding my breath, feeling a wave of empathy for his frustration at the interruption—who wouldn’t be devastated if their favourite musical stopped just one note from the end? The cast joining him for the encore created a perfect, heartwarming ending. Adrian Carr’s final words as the Man in the Chair, expressing his love for a musical he’s never actually seen live, resonated deeply. It was a reminder of the power of theatre to bring people together, even in moments of solitude. Productions like ' The Drowsy Chaperone'  are a testament to the thriving arts scene in Ipswich. They not only provide a platform for local talent to shine but also bring the community together in celebration of the shared joy of theatre. Swich Up Productions is playing a pivotal role in nurturing this vibrant culture. While I would love to see this production performed on a larger scale, complete with an orchestra and microphones, this cast and creative team captured the heart and humour of the show perfectly. With upcoming shows like It’s a Wonderful Life  in December 2024 and Jekyll & Hyde  in 2025, there’s much to look forward to from this talented group.