Title: Verum Voices Presented By: Verum Arts Genre: A Capella / Vocal Ensemble Synopsis: Verum Arts proudly introduces Verum Voices – your soon-to-be favourite a cappella crew. We're a fresh vocal group ready to shake up the Brisbane music scene, and we're looking for passionate singers to join our debut season. All experience levels are welcome, so if you've got a voice and love harmonies, we want to hear from you! Audition Date: Tuesday, 13 May 2025 Audition Time: 6:00 pm – 10:00 pm Audition Location and Address: Visible Ink Youth Hub, 5 Green Square Close, Fortitude Valley QLD 4006 Audition Self-Tape Due (if applicable): Please contact us if you're unavailable on the listed date – alternate arrangements may be made. Audition Registration: Audition Form – Click Here to Apply Audition Requirements: Prepare approximately 1 minute of a song of your choice that best showcases your vocal ability Your song must be performed a cappella (no backing track) A starting note can be provided. You may also be asked to complete aural and pitch exercises during your audition. Rehearsal Dates: Weekly from Tuesday, 27 May 2025 Rehearsal Times: Tuesdays, 5:30 pm – 8:00 pm (subject to change) Rehearsal Location: Visible Ink Youth Hub, Fortitude Valley

Title: Titanic the Musical Presented By: Gold Coast Little Theatre Genre: Musical Theatre Synopsis: Titanic the Musical is a dramatic retelling of the infamous maiden voyage of the RMS Titanic, which tragically sank on April 15, 1912. This powerful Broadway musical — written before the release of the 1997 James Cameron film — focuses on the real-life crew and passengers of all classes aboard the ill-fated ship. With a sweeping, poignant score by Maury Yeston and a compelling book by Peter Stone, the musical explores the aspirations, dreams, and destinies of those aboard, weaving together historical detail and human emotion. This ensemble version requires only 20 performers who bring to life a multitude of characters, from stokers and stewards to first-class passengers and officers. Audition Date: Saturday 3 May, 2025 Audition Time: 10-minute vocal audition slots throughout the day Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough Street, Southport If you are unable to attend audition day please email at titanic@gclt.com.au to arrange a video audition. AUDITION REQUIREMENTS: Prepare 2 contrasting songs (no movement or dance audition required). A Golden Age / Classic Broadway piece – You may select a song from Titanic. A contrasting piece – Preferably from a musical (stage or film), showcasing characterisation and vocal range. Required Audition Songs (for select characters): Mr Andrews – Mr Andrews’ Vision Fleet, Bride & Barrett – The Proposal / The Night Was Alive Audition Registration: Register here Audition Pack: Download here (PDF) SCHEDULING: Performance Dates: 22 August – 13 September 2025 Performance Times: Thursdays, Fridays, Saturdays at 7:30pm Sundays at 2:00pm Performance Location: Gold Coast Little Theatre, Southport QLD Rehearsal Dates: Starting 13 May 2025 Rehearsal Times: Tuesday & Thursday nights Sunday afternoons/evenings (full days closer to opening) Creative Team: Director: Stuart Morgan Assistant Director: Ricky Moss Music Directors: Ben Harris, Shari Willner & Matt Pearson Choreographer: Sophie Wilmot Stage Manager: Di Morgan Production Website: https://gclt.com.au/auditions/ Other information: The version being staged is the acclaimed 2012 ensemble revision, available to watch on BroadwayHD (subscription required) All cast and crew will need to be members. Membership is for 12months from the date membership is paid. For enquiries, email: titanic@gclt.com.au AVAILABLE ROLES: This version of Titanic the Musical features a compact, multi-role cast of 20, with the exception of three principal roles (Mr Andrews, Mr Ismay, and Captain Smith). All other performers will portray a range of passengers and crew across the ship's social strata. Here’s a breakdown of the featured roles: Thomas Andrews Shipbuilder & Titanic Designer The moral compass of the show. He's thoughtful, observant, and filled with quiet integrity. Tenor (A2–G4) | Stage Age: 30s–40s | Slight Irish Accent | Perished J. Bruce Ismay Owner of White Star Line Ambitious and status-driven, Ismay pushes for speed to make headlines. He’s high-strung, formal, and carries the weight of leadership, making questionable decisions under pressure. Baritone (A2–G4) | Stage Age: 40s–50s | British | Survived Captain E.J. Smith Ship’s Captain A fatherly, dignified figure nearing retirement. Deeply cares for his crew and passengers, but struggles under Ismay’s pressure. His sense of duty keeps him on board until the end. Baritone (Bb2–F4) | Stage Age: 50s–60s | British (RP accent) | Perished William Murdoch 1st Officer Experienced but humble, Murdoch is a capable leader and right-hand to the Captain. On duty during the iceberg strike. Baritone (C3–F#4) | Stage Age: 30s–40s | Perished Charles Lightoller 2nd Officer Strong speaker with some solo moments. The highest-ranking officer to survive, and a key source of Titanic’s historical record. Baritone | Stage Age: 30s–40s | Survived Herbert Pitman / Henry Etches 3rd Officer & 1st Class Steward Pitman is loyal and reliable, surviving in command of a lifeboat. Etches is attentive and seasoned in first-class service. Tenor (B2–G4) | Stage Age: 30s | Both Survived Joseph Boxhall / Edgar Beane 4th Officer & 2nd Class Passenger Boxhall launches distress signals as the ship sinks. Edgar is practical and witty, trying to keep his wife Alice grounded. Bari/Bass (G2–D4) | Stage Age: 40s–60s | Boxhall Survived, Edgar Perished Quartermaster Hitchens / Isador Straus Crew & Passenger Hitchens was at the wheel during the collision and later manned a lifeboat. Straus is a wealthy, older man whose love story with his wife Ida becomes one of Titanic’s most touching. Bass/Baritone (F2–F4) | Stage Age: 50s–70s | Hitchens Survived, Straus Perished Bellboy Edward / Waiter / Stoker A young crew member who shares a poignant final moment with Captain Smith. Light Tenor or Youthful Voice | Stage Age: 14 (Casting 15+) | Perished Frederick Barrett A strong and capable stoker; the character is based on two real individuals named Barrett. His fate is left ambiguous. Tenor (A2–G4) | Stage Age: 20s–30s | Unclear if Survives Harold Bride / Wallace Hartley Bride is the young, awkward wireless operator. Hartley is the bandleader who plays until the very end. Tenor (C3–G4) | Stage Age: 20s–30s | Bride Survived, Hartley Perished Frederick Fleet / Frank Carlson Fleet is the lookout who first sees the iceberg. Carlson missed the ship entirely. Tenor (C3–G4) | Stage Age: 20s–30s | Fleet Survived Ida Straus Ida refuses to leave Isador on the ship, with the phrase “Where you go, I go.” Alto (G3-D5) | Stage: 50s-70s | Perished Alice Beane Alice is a homemaker who wishes she was a socialite. Requires an actress who can make us laugh by revealing the depths of Alice’s heart, rather than by playing her for comedy. She is like a child playing dress-up; the reality seems absurd but the fantasy is earnest. Mezzo (G2-D4) | Stage Age: 40s-50s | Survived Charles Clarke Charles aspires to be a journalist in New York City, and has every reason to believe he can succeed. Tenor (B2–F#4) | Stage Age: 20s–30s | Perished Caroline Neville Caroline is classy and kind - actually born to first class, but eloping to America with her love; she wants nothing more than to be with him, and is more than willing to sacrifice status for love. Mezzo or Soprano | Stage Age: 20s–30s | Survived Kate McGowen Strong-willed, spirited Irish immigrant travelling to a new life. Has a romantic storyline with Jim Farrell. Soprano/Mezzo (A3–F#5) | Stage Age: 20s | Survived | Strong Irish Accent Kate Mullins One of eight children, travelling with friends to America. Alto | Stage Age: 20s | Perished | Strong Irish Accent Kate Murphey Young, resilient, grew up fast due to family hardship. Alto | Stage Age: 20s | Perished | Strong Irish Accent Jim Farrell / Mr Bell / Mr Latimer Irishman and love interest to Kate McGowen. He’s earnest, grounded, and has a charming presence. He survives in the show (though not in real life). Baritone (B2–F#4) | Stage Age: 18–30 | Strong Irish Accent

Title: Chapter Two by Neil Simon Presented By: Spotlight Theatrical Company Genre: Comedy/Drama Play Synopsis: George and Jennie are in love, utterly perfect for each other, and are getting married. There are just a few problems: They’ve only been dating for two weeks. George’s beloved wife has passed away. Jennie has just gone through years of counselling which culminated in a messy divorce. Meanwhile, George’s brother Leo and Jennie’s friend Faye have their own marital troubles—and their own questionable chemistry. With heartfelt insight and comedic flair, Neil Simon’s semi-autobiographical Chapter Two asks whether finding a soulmate can happen more than once in a lifetime. Audition Date: Tuesday 13th May Audition Time: 7:00pm Audition Location and Address: Spotlight Theatre, 185-187 Ashmore Road, Benowa QLD Audition Requirements: Cold readings from the script (sent upon registration) Once registered, you will be contacted with your individual audition time Script and audition materials available in advance by emailing: clemshellyhalpin@gmail.com Audition Registration: Click here for the audition application form Audition Pack: Download audition pack here Available Roles: George Schneider (Male, 30s–50s): A grieving widower and serious novelist, not ready to meet someone new Jennie Malone (Female, 30s–50s): A soap opera actress recovering from a messy divorce, also not looking for new love Leo Schneider (Male, 30s–50s): George’s brother, married, frustrated, looking for an affair but failing miserably (comic relief) Faye Medwick (Female, 30s–50s): Jennie’s best friend, also frustrated and unsatisfied, seeking excitement but not succeeding (comic relief) Performance Dates: 21 August – 6 September 2025 Performance Location: Spotlight Theatre, 185-187 Ashmore Road, Benowa QLD Director: Clem Halpin Production Website: https://spotlighttheatre.com.au/aud-call.shtml Other information: Callbacks, if required, will be held on Tuesday 20th May at 7:00pm. All auditionees will be contacted regarding results. This is a two-act play with an approximate running time of 2 hours, including an intermission.

Based on the beloved Roald Dahl novel, Charlie and the Chocolate Factory  tells the story of young Charlie Bucket, a humble boy with a kind heart, who wins a once-in-a-lifetime golden ticket to tour the mysterious and magical factory of eccentric chocolatier, Willy Wonka. Alongside four other golden ticket winners—each with their own terrible flaw—Charlie embarks on a journey filled with sweet treats, strange inventions, and lessons in morality. Redcliffe Musical Theatre’s production, directed and produced by Madeleine Johns, took on this enormous challenge with a cast of committed performers, cheerful costumes, and a sense of fun that the audience clearly enjoyed. It’s no small feat—this show is famously tricky to stage, and the team faced the added challenge of lost rehearsal time due to the cyclone. With multiple cast members rotating through key roles and intricate staging requirements, it was clear from the outset that this was a huge undertaking for a community theatre company. The production included all the nostalgic favourites from the movie musical—“Pure Imagination”, “I’ve Got a Golden Ticket”, and “The Candy Man”—guaranteeing plenty of moments for audience members young and old to smile along and sing in their heads (or out loud, if you were me).   I attended a Sunday matinee, where Milo White took the stage as Charlie Bucket (a role he shared with Auden Ryan and Kirill Yaremchenko). From the moment he appeared, Milo radiated the optimism, creativity, and sweetness the role demands. With a bright voice, rosy cheeks, and the kind of energy you dream of in a young performer, he was truly a joy to watch. His wide-eyed wonder during the factory scenes was genuinely heart-warming—you could almost see the magic glisten in his eyes whenever he entered inventing mode. His chemistry with Terry Skinner as Grandpa Joe was lovely, and their duet, “I’ve Got a Golden Ticket,” was a sweet and charming moment in Act One. While Terry was the only main character not to adopt an accent (which made him stand out slightly), his scenes with Charlie were a joy and heartfelt. Allison Renton brought a warm, maternal presence as Mrs Bucket and provided lovely vocal support throughout.   Willy Wonka was brought to life by Gary Farmer-Trickett, who shared the role with vocal coach Anthony van Stam. On the day I attended, Gary delivered a wonderfully strong performance, absolutely nailing the comedic timing and manic energy of the character. While his Act One solo “It Must Be Believed to Be Seen” was slightly overshadowed by the power of the ensemble, he really came into his own after intermission. From the rapid-fire lyrics of “Strike That, Reverse It” to the dreamy sincerity of “Pure Imagination”, Gary captured Wonka’s deliciously unpredictable nature—equal parts whimsical and a touch dangerous.   The show did start a little slowly—Charlie has quite a few solo numbers before the story really kicks into gear (a fault of the script rather than the company). But things picked up considerably once we met the other golden ticket winners and their wildly eccentric parents. One of my favourite surprises came in the form of the delightfully deadpan reporters, Jerry Jubilee and Cherry Sundae, played by Jake Hollingsworth and Tylah-Jay Foster.  Jake’s proper British seriousness paired beautifully with Tylah-Jay’s bubbly pizzazz.   The four naughty children and their accompanying adults were played by a mix of rotating cast members (as is common at RMT). On the day I attended, Tyler Haynes was a suitably zoned-out Mike Teevee, Santino Belmonte delivered a high-energy Augustus Gloop, Alessia Lily Monteverde dazzled as Veruca Salt, and Ruby Marriott shone as Violet Beauregarde. These characters are caricatures of four of the seven deadly sins: gluttony (Augustus), pride (Violet), greed (Veruca), and sloth (Mike), and each of these young actors leaned into those unfavourable traits perfectly.   Each golden ticket winner had their moment in the spotlight with their own introductory song. “Queen of Pop”, Violet’s number, stood out in particular—with the dancers working overtime and TJ Foster hilariously grooving along. Ruby Marriott was a cool and confident Violet Beauregarde, paired well with Beau Frigault as her hype-man dad. Their matching tracksuits and blue lipstick were an absolute vibe. While the thick German accents made it purposefully difficult to understand them, Santino and Sarah Ashby (as Mrs Gloop) yodelled their way through “More of Him to Love” with superb energy. Mrs Teevee (played by Brianna Gibbins, though I saw understudy Nikki Glowacki) was a chaotic delight in “That Little Man of Mine”, and Mike’s brief vocal moments revealed a lovely tone. Alessia Lily Monteverde’s Veruca Salt was all snobby elegance and tantrums, delivering “When Veruca Says” with attitude to spare alongside her on-stage father Erickson Ilustre. She nailed the bratty persona, complete with sharp vocals, well-placed eye rolls, and even some ballet en pointe! Act Two took us fully into the factory, where the visual magic had to lean more towards DIY charm than big-budget spectacle. The reveal of the chocolate room was a little underwhelming and might have benefitted instead from a projected backdrop to expand the world beyond the curtain and small set pieces. Jonathan Johns’ set design showed plenty of creative ambition, even if the scale occasionally fell short of the vision. I especially enjoyed the grandparents’ “beds” mounted on lazy Susans—combined with their delightfully grim jokes that made it equal parts morbid and hilarious.   One of the more noticeable limitations was the use of pre-recorded tracks. While practical, this led to awkward pauses and dulled some transitions, leaving the cast waiting for cues that lacked momentum. That said, Rhonda Davidson-Irwin did an excellent job as Musical Director, especially managing the vocals of such a large and diverse ensemble. Speaking of, the ensemble worked tirelessly! Especially the thirty Oompa Loompas, donning the classic green wigs and white overalls (sans orange skin, thankfully). Costumes across the board were fun and full of personality, with Wonka’s vibrant look standing out as a highlight. The squirrel ballet was one of the cutest sequences, with the furry dancers attacking Veruca to giggles from all corners of the audience. And Violet’s blueberry transformation, complete with an inflatable suit, was a big hit!   All in all, Charlie and the Chocolate Factory  by Redcliffe Musical Theatre was a sweet and spirited production, brimming with colour, character, and youthful joy. With a touch more technical polish and staging resources, it could have soared even higher. It’s no small thing to take on a show of this complexity, and it was clear that the cast and creative team poured everything they had into bringing it to life. And at the end of the day, that’s what makes theatre magical—a bit of sparkle, a lot of effort, and a whole lot of pure imagination.

Title: Senior IMPACT Ensemble 2025: At the End of the World Presented By: Empire Youth Arts – The Empire Theatre Genre: Devised Theatre / Contemporary Ensemble Performance Synopsis: At the End of the World is a darkly satirical, meme-fuelled theatrical rebellion against climate catastrophe, political chaos, and the collective Gen Z existential dread. In a world that seems to be crumbling, where headlines scream disaster and every swipe on social media adds to the noise, the 2025 Senior IMPACT Ensemble will dive into creating an original work that reclaims joy as the ultimate act of defiance. Blending comedy, politics, memes, and powerful storytelling, this show dares to ask: how do you laugh at the apocalypse? Audition Date: Saturday 3 May 2025 Audition Time: Group Audition: 10:00am – 11:00am Solo Auditions (Booked Slots): 12:00pm – 5:00pm Audition Location and Address: The Empire Theatre, 54–56 Neil Street, Toowoomba QLD Audition Requirements: Task 1: Perform a published short monologue from a play, film or TV show that best showcases your performance style and strengths. Task 2: Present an original self-devised piece (monologue, poem, song, speech or movement work) from a character facing “the end of their world” – which could be literal or metaphorical. Each solo audition is strictly 6 minutes in total. Applicants must attend the group audition and their solo audition slot. Available Roles: A devised ensemble of 8–14 young performers (ages 15–20). The show will be developed collaboratively by the cast and creatives. Audition Registration: Complete and submit the application form (included in the audition pack) to: youtharts@empiretheatre.com.au Or deliver in person to the Empire Ticket Office. Deadline: 3:00pm Thursday 1 May 2025 Audition Pack: Available here Empire Theatre’s website Performance Dates: Wednesday 22 October 2025 (Preview, 7:00pm) Thursday 23 October 2025 (7:00pm) Friday 24 October 2025 (7:00pm) Performance Location: The Armitage Centre, The Empire Theatre Rehearsal Dates: Workshops and rehearsals occur on Mondays from 4:00pm–6:00pm or 4:00pm–8:00pm between May–October 2025, with intensives during the September holidays and full production week in October. Required Age: 15–20 years old (applicants must be within this range at the time of the project) Creative Team: Lead Creative: Grace Sankey Creative Collaborator: David Burton Production Website: empiretheatre.com.au Other Information: The project fee is $660 (payment plans and financial assistance available). There is also the opportunity to apply as an Assistant Creative / Writer, a volunteer role assisting in shaping the work alongside the Lead Creative and Creative Collaborator. Writers must submit a short writing sample and 100 words on why they’d like to be involved, and attend the group and solo audition (Task 2 only). Young people of all backgrounds, physical abilities, and levels of experience are encouraged to apply.

Title: Viva Rhythm Presented By: Starlet Productions Genre: Stage Spectacular / Musical Cabaret Synopsis: A glamorous night of theatre that follows the journey of a songstress whose biggest dream is to perform on the world’s greatest stages. From Paris to Vegas and everything in between, Viva Rhythm is a dazzling showcase of vocal talent, powerful dance, and specialty artistry designed to mesmerise. Audition Date: Sunday 27th April, 2025 Audition Time: [TBA upon registration] Audition Location and Address: Gold Coast, QLD (specific venue TBA via email) Audition Registration: Fill out the online audition form here: Google Form Link Audition Requirements: Applicants must be 18+ Professional-level experience required Open to singers, dancers, and specialty acts (solo or duo) Dancers: Showgirl, contemporary, musical theatre, and technical jazz Singer/Dancers: Technical jazz and partner work (tap welcome but not required). Bari-tenors comfortable with pop/rock/musical theatre. Singer: Mezzo-soprano with strong belt. Experience in pop/rock and musical theatre. Dance experience is advantageous. Specialty Acts: Ground-based solo or duo acts such as poi, juggling, adagio, contortion, hand balance, roller skating, hoops, etc. Available Roles: Female Presenting Dancer Male Presenting Dancer Female Presenting Singer Female Presenting Singer/Dancer Male Presenting Singer/Dancer Specialty Acts (Solo or Duo) Performance Dates: Saturday 6th July, 2025 Saturday 13th July, 2025 Saturday 20th July, 2025 Performance Location: Illusions Theatre, Cavill Lane, Gold Coast Rehearsal Dates: June 2025 Required Age: 18+ Production Website: https://www.starletproductions.com.au

Title: An Evening on Broadway: Monsters, Murder and Mayhem… Presented By: Introspect Theatre Company Genre: Musical Theatre, Mystery, Comedy, Dark Cabaret Synopsis: After a horrifying murder occurs at a distinguished house party, a grizzly detective with a dark past steps up to solve the crime. He meets a young crime enthusiast, and together they uncover that this killing eerily resembles some of the detective’s old unsolved cases. As they dig through the cold case files, more secrets come to light. This interactive, cabaret-style evening of murder, mischief, and music invites the audience into the investigation. Expect drinks, dramatic twists, and a whole lot of delicious mayhem. Audition Date: Sunday, 27th April 2025 Audition Time: 3:00 PM – 5:00 PM Audition Location and Address: TBA Audition Self-Tape Due (if applicable): Optional video upload is available via the registration form Audition Registration: Click here to register via Google Form Audition Pack: View the full audition pack Audition Requirements: Prepare two songs: One required song based on your vocal type: Shadow by Livingston (for male-presenting performers) Zombie by The Cranberries (for female-presenting performers) Plus one song of your own choice You may also be asked to perform one of the following monologues: Joker and Murray (from The Joker) Aubrey (from Pitch Perfect) Available Roles: Ensemble-based, cabaret-style show with opportunities for unique and dramatic characters. Specific roles not listed – performers will likely play a variety of characters in a devised murder-mystery style performance. Performance Dates: 26th and 31st October Performance Location: TBA Rehearsal Dates: Beginning Saturday, 11th May 2025 Rehearsal Times: Wednesdays: 5:00 PM – 9:00 PM Sundays: 3:00 PM – 7:00 PM Media Day: Saturday, 10th August 2025 Warnings: Mature content, themes of murder and psychological darkness, suggestive content, audience interaction. Required Age: 18+ Directed by: Daniel Lewis & Gabriel Jassim Production Website: www.introspecttheatreco.com.au

Thank you to Beenleigh Theatre Group for the invitation to attend The Lovely Bones . Directed by Roslyn Johnson, this play is adapted by Bryony Lavery from Alice Sebold’s haunting novel. While I must admit that the story has never resonated with me, neither in book form, film, nor now in this stage version (sorry, but it's far too sickening and depressing for me), I approached the production with an open mind and a genuine desire to find the heart of what draws others to this tale. Set in the 1970s, The Lovely Bones  follows the tragic story of 14-year-old Susie Salmon, who is murdered and watches from the afterlife as her family attempts to process their grief and move forward. It is a story of loss, longing, and the threads that connect us—even beyond death.   The show opened to the ethereal sounds of Joni Mitchell’s Both Sides Now , setting an appropriately melancholic tone as Susie wandered silently through the space. Holly Delchau, as Susie, brought a gentle and ethereal presence to the role, with a youthful and desperate vocal tone that underlined the character’s ghostly narration. Holly's efforts in creating a sense of longing and hope were admirable, and she held the emotional centre of the piece with care. Andrew McArthur was a standout as the unsettling Mr Harvey. From the dishevelled combover and dated sweater to the disturbing calmness with which he delivered lie after lie, Andrew walked the line between ordinary and horrifying with skill. Particularly clever was his performance in scenes where he had to portray a character who was clearly lying but not doing it well, and somehow make that  convincing. His final unravelling was chillingly performed and left a strong impression.   The set, designed by Ian Johnson, was one of the most remarkable elements of the production. A turning set piece for the Salmon family home and a two-storey rotating unit for Mr Harvey's house allowed for clever and dynamic staging. The rolling cornfield and transitional lighting created a liminal space between the real and the supernatural, though at times the frequent transitions felt abrupt, and scene changes lacked fluidity. The supporting cast gave varied performances. While all actors seemed highly competent, I found the emotional engagement was lacking at key moments, especially within the Salmon family. Their grief, which should have been the emotional core of the play, often felt muted or distant, making it difficult to connect with their journey. Justin Ryan as Jack Salmon gave a solid performance, but I struggled to see the depth of obsession and anguish the character required. Hannah Davies as Abigail and Leah Harford as Lindsey similarly didn’t fully convey the emotional weight of their arcs, which diminished the story’s intended poignancy.   The portrayal of Holiday, the family dog, was a unique choice, puppeteered by Thomas Wood using a stuffed toy. While unconventional, Wood handled the role well, and the dog’s silent presence served as a subtle but persistent reminder of all the things unsaid. Some characters, such as Naviah Morris as Ruth and Cameron Samimi as Ray, seemed underwritten in this adaptation. Though they played intriguing roles in Susie’s world, their storylines never quite bloomed into full relevance, leaving their emotional impact underdeveloped.   The costumes and hairstyles firmly rooted the production in the 1970s, and I appreciated the attention to those era-specific details. Accents, however, were inconsistent and sometimes distracting, occasionally slipping out entirely. Lighting by Chloe Harrison and sound by Levi Rayner supported the eerie atmosphere effectively. Sound design made some bold choices, ranging from David Bowie to voiceovers that occasionally jarred with the tone and emotional gravity of the play. While innovative in intent, the AV elements sometimes confused rather than enhanced the story, particularly when the symbolism wasn’t clear.   While The Lovely Bones  was never going to be an easy or uplifting night at the theatre, this production did offer moments of clarity and performance strength—particularly through Holly's sincerity and Andrew's unnerving portrayal. The material itself, with its heavy themes and dreamlike narrative, is difficult to adapt for stage, and this version struggled with pacing, tone, and emotional engagement throughout.   Ultimately, while this production didn't resonate with me personally, I acknowledge the effort and commitment it takes to stage such a complex and emotionally layered work. I respect the cast and crew’s ambition in tackling such a sensitive and surreal piece of theatre. Theatre is, after all, a space for bold choices and brave storytelling, even when it doesn’t land for everyone. I left not quite knowing whether to applaud or book a therapy session… possibly both.

A Dazzling Adventure Beyond Imagination After plenty of anticipation, Peter and the Starcatcher  has finally sailed into Brisbane, bringing with it a swashbuckling romp of whimsy, wonder, and wit. Directed by David Morton and brought to life by the visionary minds at Dead Puppet Society, this Tony Award-winning production reimagines the origins of Peter Pan . It’s a play, a musical, a spectacle, a fever dream to be honest... and a wildly inventive, fast-paced adventure that barrels through its storytelling faster than you can say, “second star to the right!” Based on the 2004 novel Peter and the Starcatchers  by Dave Barry and Ridley Pearson (itself inspired by J.M. Barrie’s 1904 play Peter Pan ), and adapted for the stage by Rick Elice, the show spins an origin story for beloved characters Peter, the Lost Boys, Tinkerbell, Mrs. Darling, Captain Hook, and Smee. At its heart is the daring mission of starcatchers Lord Leonard Aster and his daughter Molly, tasked with transporting magical starstuff to safety—only to be thwarted at every turn by pesky pirates, tag-along orphans, and fantastical creatures. The atmosphere on opening night was electric, and by the time the final scene played out, the immediate standing ovation spoke volumes. The cast of Peter and the Starcatcher  is an ensemble of comedic brilliance and top-tier Australian talent (with excellent British accents). Every actor throws themselves into multiple roles with unstoppable energy and a flair for the ridiculous, making it nearly impossible to decide where to look at any given moment! Otis Dhanji and Olivia Deeble, as Peter and Molly, are the heart of the show. Deeble’s portrayal of Molly is a force of nature—her fierce independence and natural leadership shine through in every scene. She commands attention with a perfect balance of childlike enthusiasm and wisdom beyond her years. Dhanji’s Peter, on the other hand, is scrappy, mischievous, and brimming with curiosity—the very essence of the boy who never grows up. Together, they anchor the production and capture the emotional core of the story through their combined strength and vulnerability. Colin Lane is an absolute scene-stealer as the flamboyant Black Stache. This isn’t the Captain Hook you know—he’s widly theatrical, unhinged, and always teetering on the edge of self-parody. Lane seems to thrive on the chaos, keeping both his fellow cast members and the audience on their toes with improvisations and fourth-wall breaking. His dynamic with his long-suffering sidekick Smee (played by Pete Helliar) is a comedic goldmine, their back-and-forth banter providing some of the biggest laughs of the night. Morgan Francis is bold and bossy as Prentiss, while Benjin Maza’s Ted is hilariously clueless and perpetually hungry. Though they’re adults playing orphaned children, they sell every moment with wide-eyed wonder and heartbreaking abandonment. Paul Capsis (my personal fave) shines as the villainous Bill Slank and later as the hilariously absurd Hawking Clam. His over-the-top performances are deliriously dramatic, and he revels in every moment of his roles. Lucy Goleby is utterly endearing as Mrs. Bumbrake, Molly’s no-nonsense nanny. Ryan Gonzalez graces us with his stunning voice and juggles multiple roles—including Sanchez, Grempkin, Mack, and the unforgettable Fighting Prawn, the leader of the island’s Italian chef tribe (I couldn’t make this stuff up if I tried). Alison Whyte’s Lord Aster is a commanding presence, exuding authority even when surrounded by the absurdity of the pirates. Her ability to preserve her character’s dignity, despite Colin Lane causing all the other actors break character, is a highlight.   It wouldn’t be a Dead Puppet Society production without, well, puppets—and Peter and the Starcatcher  is brimming with them, from delicate fluttering creatures to towering, multi-operator behemoths. Designed and crafted by an exceptional team of Brisbane-based artists, the puppets become an intrinsic part of the storytelling, capturing the wonder and unpredictability of Neverland. Among the many puppets that populate the stage, the mischievous cat makes several playful appearances. The crocodile appears in no fewer than three  forms: as a shadow puppet, as an airborne giant, and finally as an awe-inspiring 12-metre-long hero puppet operated by multiple performers. Each version of the creature builds upon the last, creating a growing sense of menace and anticipation every time it appears. Every puppet, prop, and performer moves naturally, transforming inanimate objects into characters in their own right to immerse us in a world of endless imagination.    Then there are the mermaids! Adorned with shimmering, disco-inspired, iridescent scales, they catch the light in a hypnotic display as they dance and sing us into Act Two. But it’s Teacher, the enigmatic mermaid played by John Batchelor who dazzles the most with a four-metre tail embedded with over 1000 pixels of light to make him glow with an ethereal beauty. The pacing of Peter and the Starcatcher  is relentless—in the best way. It never lingers too long in one place, constantly shifting between intense adventure, heartfelt moments, and sharp comedy. It always maintains an undercurrent of anticipation and excitement. And the speed— my god, the speed!  This show moves like a runaway train, and the cast is sprinting right alongside it. They leap, tumble, switch costumes, and swap characters at a dizzying pace, morphing from pirates to sailors to puppeteers to chefs in the blink of an eye. With movement director Liesel Zink’s guidance, the cast navigates this kinetic landscape with precision, ensuring that every transition feels entirely purposeful. The stage design itself fuels the production’s constant sense of motion. A striking arched structure towers above the action, covered in twinkling starlight that seems to envelop both the stage and audience in a shared dreamscape. Rather than relying on static set pieces, the production takes a more inventive approach to its world-building. The Wasp and The Neverland , the two central ships, aren’t traditional set pieces but exquisitely crafted scale models. Constructed from wooden pieces, polypropylene sheeting, and real brass, these intricate miniatures blur the lines between set, prop, and puppet. Lighting, designed by Ben Hughes, plays an equally vital role. The interplay of starlight, shadows, and bursts of colour enhances the storybook charm. Musically, Peter and the Starcatcher  is just as enchanting as its storytelling. James Dobinson’s score flits between playful whimsy and ethereal melodies. The live instrumentation—featuring fiddle, harpsichord, hand percussion, a spinet piano and more—evokes life on the Victorian-era ship. Rather than being tucked away in a pit, the musicians are fully visible. The organic quality of the live music adds a sense of immediacy, making the audience feel as though they are right there on deck with the characters, caught in the sweeping tide of the story. Then, there are those moments that take your breath away, with one standing out in particular: Peter’s arrival in Neverland. The execution feels almost dreamlike, as the whole ensemble sings and the music swells to bask us in the pure wonder of the moment. It’s one of those rare, enchanting instances in theatre where you feel genuinely transported, where the lines between the stage and reality blur, and you become completely immersed in the adventure. This show captures the essence of childhood wonder, adventure, and friendship that I adore seeing on the stage. The cast’s energy makes the journey from pirate ship to the shores of Neverland feel like one we all want to embark on, inviting us to rediscover the joy of make-believe. It’s a feast for the eyes, ears, and heart, bursting with creativity at every turn. Blending comedy, heartwarming moments, and a surprising amount of social satire (the British Empire gets thoroughly roasted, and there are plenty of modern references to make you giggle), this production defies easy categorisation. It’s a play. It’s a musical. It’s a show for adults. It’s a fairytale. It’s all of these things at once. Peter and the Starcatcher  is an experience I’d happily get lost in again and again. Tickets Available Here

Encore was no ordinary revue—it was a love letter to musical theatre, wrapped up in dazzling costumes, energetic choreography, and an inspired framing device that elevated it beyond the usual showcase format. Rather than simply presenting a series of songs, Encore set itself within an auction house selling off theatrical treasures. It was like Antiques Roadshow meets Broadway! This concept offered audiences a glimpse into the original shows from which their chosen songs and scenes came. This imaginative approach infused the production with a storytelling element that kept things fresh throughout. One of the most impressive aspects of Encore  was its ability to juggle an enormous cast—around 100 performers—ensuring each one had multiple chances to stand out and portray different characters. The group numbers brimmed with enthusiasm, and the soloists rose to the challenge with standout performances. Olivia Cowdrey took the stage as Annie, leading the large ensemble of orphans in a spirited, loud, and well-rehearsed Hard Knock Life . Olivia’s voice was both sweet and strong. As the sole adult female in the show, Jordan Twigg’s turn as Miss Hannigan was delightfully wicked, especially in Little Girls . Maeve Lynch as Grace brought charm to I Think I’m Gonna Like It Here , and together, this opening sequence established the high energy and commitment that carried through the rest of the show. Alex Watson, the other adult in the mix, proved his versatility as a commanding Mr. Bumble in Oliver!  to a scene-stealing Edna in Hairspray  (what can’t  Alex do?). Harry Morgan owned the stage as Corny Collins in The Nicest Kids in Town , rocking a sparkly red blazer and setting a high standard for the Hairspray  segment. Darci Allen was a great fit as Tracy Turnblad, her powerhouse vocals shining in Welcome to the 60s , where the ensemble truly came alive and had me singing along! Moving to Oliver! , Xavier Loxton made a sweet and earnest Oliver, while the younger ensemble got their time to shine as orphans (again) in Food, Glorious Food —a moment I particularly enjoyed, as I’ve never actually seen Oliver! on stage before. Alex Watson was a riot as Mr. Bumble in the titular song Oliver! , delivering lines with just the right amount of villainous flair. Young Charlotte Cheng as Moana was another standout, with vocals that were simply stunning; a powerhouse voice beyond her years. Seriously, her voice was better than mine, and I'm not even mad about it! Venturing to the Land of Oz where our two favourite witches reside, Wicked 's What Is This Feeling saw Mabel Tamone as Elphaba and Maeve Lynch as Glinda. While their vocals were fantastic (especially in tackling the difficult harmonies), the acting aspect could have been dialled up for greater dramatic effect. The two actresses clearly didn’t "loathe" each other in real life, so maybe they just needed to borrow some sibling rivalry tactics. The ensemble, decked out in crazy amounts of green, attempted choreography from the Wicked film, a bold move that didn’t quite work for these younger dancers but was impressive in its ambition. Maeve Lynch’s Glinda, looking pretty in pink, hit the high notes like a pro, although the vocally-demanding Popular left her catching her breath—that song is like running a marathon while singing opera. Mabel Tamone’s Elphaba was a vocal powerhouse, handling every moment like she was born to defy gravity.   A major highlight of the show was the perfectly cast Mean Girls segment, featuring Zoe Pryor portraying a very natural Cady, Hamish Treweeke nailed it as Damian, and Kira Green rocked as Janis. The Plastics were a fabulously fierce trio: Saana Chang (Karen), Mabel Tamone (Regina), and Ella Reynolds (Gretchen). In Meet the Plastics, Mabel’s portrayal of Regina was spot-on, you'd swear she was lip-syncing to the Broadway recording! Kira’s solo Apex Predator was a showstopper, belting out notes that could shatter glass. Ella was so fetch as Gretchen and Saana’s hilariously ditzy Karen brought the perfect comedic touch. While it may not have been entirely suitable for this age group, I adore the show, and the number Where Do You Belong wrapped it up with a bang—great job, girls (and Hamish!) The Mamma Mia! segment was a crowd-pleaser, beginning with Lay All Your Love On Me , where Harry Morgan (Sky) and Estella Mitchell (Sophie) brought great energy to the number. They handled the tricky song well (which I know is tough to sing!), but it was easy to see the main reason for that number—the dance in the flippers! The Donna and the Dynamos casting was fantastic , with Keira Readman as Tanya, Maeve Lynch as Rosie, and Jordan Twigg as Donna. Jordan’s delivery made every spoken line feel spontaneous, and she would be perfect in a full production of Mamma Mia! Her rendition of the full The Winner Takes It All was simply breathtaking—her vocals soared with raw intensity, making for an unexpectedly emotional moment of the show. The grand finale, The Greatest Show , was a spectacle in itself, with Alex Watson commanding the stage as Barnum and gathering the entire ensemble back together for a final moment of theatrical magic with high-energy choreography and tumbling tricks. Everyone on stage radiated joy—it was clear they were having the time of their lives! The projected backdrops were large, beautiful, and perfectly suited to each segment. Costumes were appropriately chosen, and the lighting—particularly in the Hairspray and Mamma Mia numbers—was used to full effect potential. Alongside the grand ensemble pieces, we were treated to some outstanding solos and interspersed scenes that offered context for each musical, which really enhanced the revue format. Despite facing a shortened rehearsal period due to Cyclone Alfred, Encore didn't seem underprepared. The cast and creative team put together a wonderful show that celebrated theatre with passion and joy. There was a palpable sense of fun on stage, and that energy extended out to us in the audience. Communication in Action once again proved their ability to wrangle a massive cast (and many quick changes!) into a cohesive, entertaining, and high-calibre production. If Encore were an auction of musical theatre’s greatest hits, then every number was a gem that had the audience bidding for more.

Title: Purgatory Presented By: Maleny Players Genre: Black Comedy, Drama, Horror Synopsis: Set in a questionable Sydney nursing home in 1997, Purgatory is a darkly comic play infused with drama and a touch of horror. Featuring original songs and music, the play blurs the line between fact and fantasy as we step into the lives of a matron driven by duty and compulsion, an elderly woman trapped within her own world, and an unscrupulous, profit-driven doctor. The story is brought to life by a mix of competent and incompetent staff caring for an eclectic group of mismatched residents. Audition Details: Audition Dates: Saturday, April 12th & Tuesday, April 15th Audition Time: April 12th at 2:00 PM & April 15th at 6:00 PM Audition Location: Playhouse, Maleny Showgrounds Audition Requirements: Cold reads from the script. Singing may be required for some roles. Audition Registration: For more information, contact dresses7@gmail.com Available Roles The Residents Elizabeth Durham: Female, 65+. Disabled by a stroke. Young Elizabeth Durham: Female, 40+. The omnipresent younger Elizabeth. Mr Roger Parkes: Male, 65+. A sometimes comical, sometimes confused resident. Hilda Dudgeon: Female, 60+. Foul-mouthed, demented ex-nun and nursing home escapee. Ivy Miller: Female, 60+. Sometimes drowsy, sometimes won’t stop talking. Bert: Male, 60+. A crusty veteran confined to a wheelchair. Mrs Crow: Female, 60+. A sweet, befuddled, and forever lost resident. Brian: Male, 60+. Well-dressed, upper-middle-class resident. Additional Residents: Various speaking and non-speaking roles. The Outsiders Father Patrick Dutton: Male, 55+. A priest and volunteer pianist. June Farrow: Female, 60+. Mrs Durham’s able-bodied sister and only visitor. Ambulance Officer: Male or Female, 25+. Miscellaneous Nurses, Visitors, Extras: Various speaking and non-speaking roles. The Staff Matron Lina Heydrich: Female, 40+. The head nursing sister, professional, firm, ruthless, secretive, and frightening with OCD. Dr Jeremy Mowbray: Male, 50+. Unscrupulous owner and resident doctor. Angela: Female, 25+. AIN, activities officer, and singer. Likeable and insightful. Judith Sommers RN: Female, 30+. Diligent, dedicated, friendly nurse. Amanda Holden AIN: Female, 25+. Emotionally dysfunctional, funeral-obsessed asthmatic. Diego Delgado N.A: Male, 35+. Spanish-speaking Argentinian nursing assistant. Jeff N.A: Male, 25+. Indifferent carer and comic relief. Danica: Female, 30+. Abrupt and unintentionally rude tea and laundry lady. Performance Dates: July 25th–27th & August 1st–3rd Warnings: Mature themes, dark comedy, and elements of horror.

Title: Gilbert & Sullivan Spectacular Presented By: Queensland Musical Theatre Genre: Musical Theatre / Operetta Audition Dates & Times: Saturday, 12 April 2025 9:30 AM - 2:00 PM Audition Location: Queen Alexandra Home, 347 Old Cleveland Road, Coorparoo, Brisbane Audition Registration Form: Click here Audition Requirements – Singing: There are set pieces of music to be learned which will be emailed out to you with your confirmation of audition. An accompanist will be provided. ALL auditionees must attend a singing audition in groups. Prepare your preferred part (Soprano, Alto, Tenor, Bass) in: HAIL POETRY CACHUCHA: Sections C & D Ladies' Voices Auditions: 9.30 a.m. Sopranos & Altos: Prepare TWENTY LOVE-SICK MAIDENS Gentlemen's Voices Auditions: 11.00 a.m. Tenors & Basses: Prepare MARCH OF THE PEERS: Sections C to E incl. All voices blended at 12.00 p.m. Note: If you cannot attend these times, please comment in the box on the form for an alternative arrangement. Audition Requirements – Dance and Movement: Dance Audition Time: 1:00 PM - 2:00 PM Dance auditions are for those interested in featured or ensemble dance segments, especially Cachucha. If you are unable to attend at this time, please select the video audition option on the form. Performance Details: Event: Gilbert & Sullivan Spectacular – Grand Finale Date: Sunday, 8 June 2025, 3:00 PM Venue: Brisbane City Hall, King George Square, Brisbane Approximate Duration: 2 hours (Including 20-minute interval) Cast & Performers: Mirusia Louwerse (Soprano) Jessica Low (Mezzo) Billy Bourchier (Tenor) Jason Barry-Smith (Baritone) Matthew Broadbent (Bass) UQ Singers Brisbane Chorale EnsembleQ Director: Jason Barry-Smith Conductor: Paul Dean QMT Musical Director: Gerry Crooks QMT Dance Captain: Sienna Ball Ticket Link: Purchase Tickets For more information on auditions and to register, visit Queensland Musical Theatre Auditions.