Title: The Wizard of Oz Presented By: BeXD Create Genre: Musical Theatre / Holiday Workshop Synopsis: Follow the Yellow Brick Road in this magical journey from Kansas to Oz! Join Dorothy Gale as she’s swept away from her Kansas farm to the magical land of Oz. On her journey to meet the mysterious Wizard and find her way home, she befriends a Scarecrow, a Tin Man, and a Cowardly Lion — all while evading the Wicked Witch of the West! This timeless tale celebrates friendship, courage, and the power of believing in yourself. Students will spend six immersive days developing their characters, rehearsing choreography and music, and preparing a full-scale production of The Wizard of Oz. This workshop is inclusive, educational, and jam-packed with performance opportunities for every participant. Audition Self-Tape Due: Monday 16th June, 2025 Audition Requirements: To audition for a lead or featured role: Slate (Intro): Name, role(s) you're interested in, dance/performance experience, and something fun about yourself. Song: Choose from the Audition Songs Google Drive Folder (use backing track). Audition Side: Choose from the Audition Scenes Folder. Dance: Optional, but encouraged for dancers or those auditioning for “The Jitterbugs.” Learn the choreography here. Combine all segments into one video and submit as an unlisted YouTube link or via cloud storage (Google Drive, Dropbox, iCloud). Submit to: admin@BeXDcreate.com Audition Registration: Click here to register for the workshop before submitting your audition. Rehearsal Dates: Monday 7th – Saturday 12th July, 2025 Rehearsal Times: 9:00 AM – 4:00 PM daily Performance Date: Saturday 12th July, 2025 Performance Times: 2:00 PM (followed by pizza party) Performance Location: St Peters Lutheran College, 66 Harts Rd, Indooroopilly QLD 406 Required Age: Ages 6–18 Workshop Fee: $550 Production Website: www.bexdcreate.com Available Roles: Dorothy: A sweet, innocent young lady with a streak of boldness. Slightly outspoken and headstrong. Must be a strong vocalist, actor, and confident dancer. Miss Gulch / Wicked Witch Miss Gulch – A cold-hearted neighbour who despises Toto. Wicked Witch – Obsessed with revenge on Dorothy and loves a good evil cackle. Non-singing roles. Strong acting ability and commanding stage presence required. Hickory / Tin Man Hickory – A kind-hearted farmhand. Tin Man – Gentle and nurturing but believes he lacks a real heart. Singing role with strong movement sequences. Hunk / Scarecrow Hunk – Another of Dorothy’s farmhand companions. Scarecrow – Clumsy yet clever, despite thinking he lacks a brain. Strong acting and singing required, with excellent body control and rhythm. Zeke / Cowardly Lion Zeke – A gentle farmhand. Cowardly Lion – Lovable, loud, and loyal, though lacking courage. Requires strong comedic timing, singing, and physical acting. Professor Marvel / The Wizard of Oz Professor Marvel – A travelling salesman and fortune teller; a bit of a con man, but ultimately kind-hearted. The Wizard – Commanding and grand on the outside, but just an ordinary man behind the curtain. Non-singing role. Strong actor required with excellent comedic timing and ability to deliver chunky monologues. Toto: Dorothy’s beloved dog, played by a performer once in Oz. Energetic mover with minimal singing, lots of barking and playful physicality! Glinda: The Good Witch of the North who gently guides Dorothy on her journey. Elegant and graceful performer with a lovely singing voice. Aunty Em & Uncle Henry Aunty Em – A hardworking farmer’s wife who deeply loves Dorothy. Mainly an acting role with a small vocal solo. Uncle Henry – Owner of the farm and Em’s husband. Acting role only. The Doorman & Emerald City Guard: Two fun, quirky acting roles in the Emerald City. Non-singing. Great character actors encouraged to audition. Munchkins Bright and bubbly residents of Munchkinland. Energetic performers with strong presence and character work. Singing and acting roles include: Munchkin #1 & #2 Mayor of Munchkin City Barrister City Fathers #1 & #2 Coroner Three Tots Three Tough Kids Crows: Mischievous and playful – they tease the Scarecrow and steal his hat. Singing and acting roles. Apple Trees: Grumpy trees who don’t take kindly to Dorothy picking their fruit. Acting roles – great opportunity for character work! Winkie Guards: Marching army of the Wicked Witch. Physical ensemble roles with stylised movement. Winkie Guard Leader – A featured speaking/singing role. Winged Monkeys: The Witch’s animal-like army. Expressive movement and characterisation. Physical ensemble roles. Nikko – Leader of the Winged Monkeys. Non-speaking acting role with strong movement and stage presence. The Jitterbugs: Stylish and sassy dance ensemble who try to out-dance the heroes! Strong dancers required – featured dance ensemble. Ozians: The colourful and eccentric citizens of the Emerald City! Ensemble roles with a mix of singing, dancing, and acting.

Title: Children's Theatre Troupe Auditions – Winnie the Pooh Presented By: Thrive Productions Genre: Children's Theatre Synopsis: Thrive Productions is excited to launch their new Children’s Theatre venture with an original script of Winnie the Pooh. Directed by Ava Moschetti, this production seeks 8 performers to join the troupe for the 2025 season, bringing this beloved story to life with charm and fun for young audiences. Audition Date: Sunday, 15th June 2025 Audition Time: 8:00 AM – 12:00 PM Audition Location and Address: 127 Sandgate Rd, Albion (Alchemy Studios) Callbacks: Monday, 16th June 2025 from 6:00 PM (details provided if called back) Audition Registration Closes: 12:00 AM, Saturday 14th June 2025 Audition Requirements: Prepare a 1-2 minute song in the style of children’s theatre Prepare a 1-2 minute children’s story (acted) Movement call included – wear comfortable clothes and bring a water bottle Auditions are in 10-minute blocks with a mandatory 1-hour group audition from 9:30 – 10:30 AM Select preferred audition slot when registering: Slot 1 (8:00 – 10:30 AM) or Slot 2 (10:30 AM – 12:00 PM) Must be 18+ to audition Audition Registration: Register here: https://forms.gle/dDTNSZeepQHU2fds9 Performance Dates: September 20, 24, 25, 26, 27 & October 1, 2, 3, 4, 2025 Two performances daily at 10:30 AM & 2:00 PM Performances at St Joseph's College, Gregory Terrace, Spring Hill Rehearsal Dates: Monday: 5:00 PM – 8:00 PM Wednesday: 5:00 PM – 8:00 PM Thursday (starting August): To Be Confirmed Note: Not all performers will be required at every rehearsal. Other Information: For questions, please email thrive.childrenstheatre@gmail.com

Title: Joseph and the Amazing Technicolor Dreamcoat Presented By: Noosa Arts Theatre Genre: Musical Theatre Synopsis: Noosa Arts Theatre celebrates 30 years since its original production of Joseph and the Amazing Technicolor Dreamcoat with a spectacular new staging of Andrew Lloyd Webber and Tim Rice’s much-loved musical. This sung-through, family-friendly show tells the story of Joseph, the dreamer with a vibrant coat, as he journeys from favoured son to Egyptian hero in a high-energy tale filled with humour, heart, and dazzling songs. With catchy tunes like “Any Dream Will Do,” “Go, Go, Go Joseph,” and “Close Every Door,” audiences will be treated to a vibrant mix of musical styles, from calypso to rock ’n’ roll. A stellar Youth/Adult cast and Children’s Choir will bring this biblical story to technicolour life. AUDITION DETAILS: Audition Dates: Saturday 14 June 2025 10:00am – 1:30pm: JOSEPH – (Youth or Adult Male) 2:00pm – 4:30pm: NARRATOR – (Youth or Adult, any gender) Sunday 15 June 2025 10:00am – 12:00pm: Children’s Choir (Ages 7–14) – Open Call 12:30pm – 2:30pm: Youth Ensemble (Ages 15–18) – Open Call 3:00pm – 5:00pm: Adult Ensemble (18+) – Open Call Monday 16 June 2025 From 6:00pm: Featured Female Dancer (15+) – Must register (every 15 min) Saturday 21 / Sunday 22 June 2025 Callbacks as required (from 1:00pm) Audition Location: Noosa Arts Theatre, Weyba Road, Noosaville QLD Audition Registration: All auditionees must register by contacting Margaret Contact: Margaret Courtney: margaretcourtney1913@gmail.com Mobile: 0407 450 621 Audition Requirements: Auditions are role-specific and require specific prepared material from the show. Vocal and backing tracks can be accessed via the theatre's website. Information Session: Saturday 7 June 2025 at 1:30pm – 2:30pm at Noosa Arts Theatre Open to all prospective cast members (Children aged 7+, Youth, and Adults). Find out everything you need to know about the audition and rehearsal process and have your questions answered. CHARACTER LIST: Lead Roles: Joseph (Tenor, M): Charismatic, charming, and vocally strong. Narrator(s) (Soprano or Tenor, any gender): Strong vocalist and storyteller. Featured Roles: Pharaoh (Baritone, M): Rock-star energy, confident stage presence. Mr Potiphar (Baritone, M): Sophisticated, authoritative. Jacob (Baritone, M): Elderly, character actor role. Butler (Tenor/Mezzo, any gender): Energetic, comedic role. Baker (Tenor/Mezzo, any gender): Comedic, character-driven. Featured Female Dancer: Strong dance skills (Tango/Latin preferred). Joseph’s Brothers (Various male voices): Ensemble and featured solos available. Wives (Various female voices): Strong ensemble and movement roles. Children’s Choir (Ages 7–14): Two choirs of six children (boys and girls) Ensemble: Youth and Adult performers as Ishmaelites, Egyptians, dancers, and more. REHEARSALS: Start 15 July 2025 Tuesdays & Thursdays: 6:00pm–9:00pm (as required) Saturdays: 10:00am–4:00pm (as required) PERFORMANCE SEASON: at Noosa Arts Theatre Preview: Thursday 23 October @ 7:30pm (All tickets $32) Opening Night: Friday 24 October @ 7:30pm Evening Performances: October 30 & 31, November 6, 7, 14, 15 - All at 7:30pm Matinees: October 25 & 26, November 1, 2, 8, 9, 16 - All at 2:00pm CREATIVE TEAM: Director: Ian Mackellar Musical Director: Diana Thomson Choreographer: Deb Ellison Costume Design: Margaret Courtney Lighting: James Lownie Stage Manager: David Hill Music Coordinator: Tony Wade Cooper IMPORTANT INFORMATION: All performers must be or become financial members of Noosa Arts Theatre. Full commitment to the rehearsal and performance schedule is expected. Do not audition if you have another show commitment that overlaps or impacts availability. Production Website: www.noosaartstheatre.org.au/auditions

Title: Stranger Sings! The Parody Musical Presented by:  Millennial Productions Directed by:  Kristen Barros Musical Direction by:  Victoria Keomahavong Choreography by:  Jess Briskie Millennial Productions took audiences on a wild ride to Hawkins, Indiana, with Stranger Sings! The Parody Musical  — a campy, unapologetic spoof of the Stranger Things  phenomenon. Packed with ‘80s nostalgia, theatre kid humour, and quirky characters, this show was part tribute, part fever dream, and a joyfully absurd experience, even for those who have never seen an episode. Directed by Kristen Barros, with musical direction by Victoria Keomahavong and choreography by Jess Briskie, the show dove headfirst into the bizarre little town of Hawkins — where, apparently, “stranger things have never happened”… unless you count poor parenting, disappearing kids, weirdos lurking in the woods, secret labs, mad scientists, and an alarming amount of Eggo waffles. This zany ride through Season 1 of the hit series was packed with hints to future plotlines, character cameos, and some sneaky musical theatre references for the nerds (me, I’m the nerd). I caught the show twice — opening night and closing night — thanks to a very theatrical twist of fate: the lighting desk blew up right before the first performance. But instead of calling it quits, the cast and crew powered on like true theatre champs, performing the entire show under the glow of the house lights. No moody Upside Down lighting, no dramatic strobes for the telekinetic powers — just raw talent, improv, and the slightly unsettling reality that the cast could clearly see every single one of our reactions in the audience. The actors leaned into the mishap with extra wit, turning an unexpected tech fail into a meta-parody moment in a show that’s already wonderfully self-aware and totally unhinged. It ended up being this one-of-a-kind, spontaneous experience. Of course, I had to go back for closing night to see the show with all its bells and whistles — and I’m happy to say, the energy was just as electric (pun intended) as before. By then, I had also binged the entire first season of Stranger Things , and my appreciation for both the parody and its characters had grown tenfold. The twelve-person cast was an absolute powerhouse of comic timing, vocal might, energetic moves, and character commitment. Every performer pulled their weight, with some clever character doubling that turned the farcical tone up to eleven... Jaime O’Donoghue was a show-stealer in the dual role of Joyce Byers and puppet-Will Byers (since Will is MIA the whole first season). As Joyce, she captured the intensity of Winona Ryder’s wild-eyed desperation with brilliant facial contortions and flailing emotional chaos. Her big unhinged solo ' Crazy' was a fever dream where Joyce imagines she is Winona Ryder — complete with guest cameos from Ryder’s greatest hits: Beetlejuice , Heathers , Edward Scissorhands , Little Women … As Will “dead-lifeless-eyes” Byers, Jaime somehow breathed life into the puppet. Her solo (or should we say duet?) 'When There’s a Will' was so convincing, I almost believed Will had a voice of his own. Jaime's physical and vocal antics were top-notch, and the absurdity of her scenes was the icing on the cake. Joel O'Brien (Mike), Peter Wood (Dustin), and Elton Jun (Lucas) were the comedic dream team of awkward preteens. Their number 'The Adventure Song' was a riot of goofy moves and perfect childlike antics, made even funnier by the ridiculousness of grown-ups playing 12-year-olds. Joel's voice could move mountains, and he infused Mike Wheeler with all the leadership charisma and preteen goofiness you could imagine — plus, his wig was fittingly tragic. Peter Wood as Dustin was a ball of chaotic, lisping energy. At first, I thought he was overdoing it — until I actually watched the TV show and realised he was actually spot on. Elton Jun was a comedic MVP, juggling the roles of Lucas, the Demogorgon, and a surprise Erica-in-drag moment (complete with a death drop). His physical comedy was a constant head-turner, and his sassy Demogorgon acting choices were everything. Kristin Sparks as Eleven nailed that perfect mix of sweet vulnerability, deadpan weirdness à la E.T., and full-on girl boss energy. She barely had any lines — fitting for Eleven — but more than made up for it with killer dance ability and a stunning voice. Her solo, 'The Dad I Never Had,'  was touching, and her final dance-off showdown with the Demogorgon was gloriously extra — pink dress, blonde wig, the whole shebang (though I was secretly hoping for the makeover after the “unnecessary plot device” moment). But even with that cursed first wig, Kristin fully committed. How she kept a straight face through all of it is beyond me. Chelsea Sales (Nancy/Robin) had a commanding main-character energy, paired with a voice that absolutely sparkled. Her portrayal of Nancy hit all the right notes — perky, daft, and hilariously self-absorbed before Nancy's character development kicked in. Chelsea clearly had a blast bouncing off both Daniel and Emily's energy. 'Friends Forever,' the duet between Barb and Nancy, was a hilariously lopsided anthem about the unlikeliest of BFFs… (or maybe something more?) Their dynamic was both funny and a little heartbreaking, as poor Barb got swept along in Nancy's whirlwind of self-serving antics. Daniel Lelić was a riot playing both Jonathan and Steve. His take on Jonathan Byers nailed that INFP awkwardness and sadboi vibes, while his Steve Harrington was all about hair-flipping swagger, confident delusion, and more daftness. His duet with Nancy ' In These Woods' was ridiculously over-the-top, featuring an interpretive dance break that had everyone cackling. Daniel's epic high note at the end of 'Nice' — a bromantic duet with Dustin that was completely unnecessary yet absolutely perfect — was seriously impressive! Emily Rohweder absolutely crushed it as Barb “I-think-that-went-well” Holland, perfectly capturing the awkward and overlooked energy of everyone’s favourite ill-fated teen. Her solo 'Barb’s Turn' — a glammed-up parody power ballad à la Gypsy — was both powerful and breathless. I loved the gag of her getting winded mid-song. Big numbers are tough, folks! Emily's comedic instincts are razor-sharp, and her quick-witted improv on opening night had me absolutely howling. Jacob Ballard was perfection as Jim Hopper — a gruff, loveable, improv king. It was a shame his song kept getting cut off (' Hopper Triggered'  indeed), especially since Jacob has a stunning voice. Thankfully, his heartfelt reprise of 'The Dad I Never Had'  with Kristin hit me right in the feels. His subtle one-liners and weary dad energy were spot-on. He steered the Upside Down madness with the comic exasperation of the only sane adult in a world gone bonkers — tired, ignored, but determined. Special shoutout to Pheobe Lovell as Mrs Wheeler and Mr Clarke — her physicality as the dorky teacher was a treat, and she gave both roles just the right amount of caricature without going too far. Malcolm Hume as Dr Brenner was delightfully creepy in his tragic "Clive Palmer" wig. Anika Jocumsen as Max (who technically doesn’t exist in Season 1, but she's just there for the vibes) killed it in all the group choreography. These three also backed as very convincing  trees in ' Adventure Song.' The set featured nods to the show — Christmas lights and the alphabet wall, an angled portal doorway, and 80s-era lamps hanging overhead. The lighting design shone brightest on closing night (duh). But ironically, the absence of lights on opening night made certain scenes even funnier. The portal transport pantomime was ridiculous — characters flinging themselves through time and space without effects — and Emily’s commitment to lines like “Just pretend I’m in a pool!” had me snorting. Costumes leaned into the era and the absurd (Eleven’s hospital gown, Hopper’s Hawaiian shirt, Barb’s button-ups), and the wigs — while deliberately tragic — became part of the comedy. The Demogorgon costume was an absolute win! Despite its parody format, Stranger Sings!  required strong vocals and serious movement from its ensemble, and they delivered on both fronts. The energy never dipped, even with the physically demanding choreography and rapid role changes. Jess Briskie filled the choreography with cheeky nods to everything from High School Musical  to Thriller , Pulp Fiction , and Hot to Go  — all blink-and-you’ll-miss-it moments that kept the momentum up until the end. And the Bowie/Madonna cameos in ' The Final Battle ' were deliciously unexpected. Because... MUSIC. WE. NEED. MUSIC! Musical director Victoria Keomahavong worked wonders with this cast. In particular, the harmonies in 'Getting Closer' (Act I finale) were tight, layered, and so satisfying. Every performer brought vocal power, and despite being a small ensemble, they never sounded thin. And while there’s no single “main character” in the musical (unless you ask Barb), every performer had a moment to shine. Musical theatre references were peppered throughout — Mean Girls , Wicked , Gypsy , Xanadu , Yentl , Hadestown  — along with pop culture callbacks and even a snippet of Running Up That Hill . With a stellar cast, nonstop energy, and enough inside jokes to make any fan giggle, Stranger Sings  was an absolute riot — whether the lights were working or not! Millennial Productions created something genuinely special: a lovingly unhinged celebration of fandom, theatre, and the art of roasting the things we love. It was meta and campy in all the right ways, never tipping into cringe. You could tell the team had an absolute blast bringing it to life — and the audience was right there with them. Photography @bybrit.creative

Title: Footloose Youth Edition – July 2025 Holiday Workshop Presented By: BG Performing Arts Genre: Youth Musical Theatre Synopsis: When Ren McCormack and his mother move from Chicago to a conservative rural town, he struggles to adjust to a community that has outlawed dancing. As he clashes with authority—particularly the local preacher—Ren finds unlikely allies and sparks change through music and movement. With themes of grief, rebellion, and reconciliation, Footloose is an upbeat and heartfelt story about finding your voice and dancing through adversity. Ages: 13-18 (Participants must be at least 13 years old by the date of the performance) Cost: $395.00 (Includes rights, royalties, staffing, venue hire, set and props. Additional costume hire fee may apply.) AUDITION DETAILS: Date: Sunday 8th June 2025 Time: 12:30pm–5:30pm (sign-in from 12:15pm) Location: BGPA Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Requirements: Auditions are required for lead, minor, featured dancer, and soloist roles. Not compulsory for ensemble roles, but attendance is strongly encouraged to meet the creative team. Select one monologue (provided upon registration) to prepare and perform. Off-book is encouraged. Participants will take part in a vocal, acting, and dance workshop as part of the casting process. All music and dance components will be taught on the day. Alternate Option: If you are unable to attend the audition day, online video submissions are accepted. Please email info@bgperformingarts.com to arrange. Audition Pack: Click here to access via Dropbox Registration: Register Here AVAILABLE ROLES: Ren McCormack – Charismatic Chicago teen and dance rebel Ethel McCormack – Ren’s strong and supportive mother Reverend Shaw Moore – Conservative local preacher Ariel Moore – Rebellious daughter of the Reverend Vi Moore – Ariel’s mother, peacemaker in the family Chuck Cranston – Ariel’s possessive boyfriend Willard Hewitt – Country boy and Ren’s best friend Rusty – Ariel’s fun-loving friend and Willard’s love interest Urleen & Wendy Jo – Ariel’s friends, bubbly and witty Lulu & Wes Warnicker – Ren’s aunt and uncle Principal Clark – Stern school principal Coach & Eleanor Dunbar – PE teacher and wife Betty Blast – Supportive local burger joint owner Lyle & Travis – Chuck’s friends Bickle, Jeter, Garvin – Willard’s mates at school The Cop – Keeps order in the town Chicago Friends – Ren’s old city crowd Ensemble: Parishioners, Bomont teens, and townsfolk (including Cowgirl Bonnie, Cowboy Bob, Cowgirl Jude, etc.) WORKSHOP SCHEDULE IN-STUDIO REHEARSALS: BGPA Bowen Hills Studio – 12 Jamieson Street, Bowen Hills Monday 7th July – Thursday 10th July: 9:00am – 5:00pm VENUE REHEARSALS: Everton Park SHS Performing Arts Centre – 668 Stafford Road, Everton Park Friday 11th July: 9:00am – 8:30pm Saturday 12th July: 10:00am – 9:30pm PERFORMANCES: Saturday 12th July 2025 - 2:30pm & 7:30pm at Everton Park SHS Performing Arts Centre CREATIVE TEAM Director: Sam Caruana Choreographer: Bella Gordon Music Director: Kate Baxter Production Manager: Tallulah Baird Production Website: www.bgperformingarts.com Enquiries: info@bgperformingarts.com

Title: Finding Nemo Kids – July 2025 Holiday Workshop Presented By: BG Performing Arts Genre: Youth Musical Theatre About: Dive into the underwater world of Finding Nemo Kids in this exciting school holiday workshop for young performers aged 6–12. Over one fun-filled week, participants will rehearse and perform a junior version of the beloved Pixar musical, exploring singing, dancing, and acting under the guidance of professional theatre-makers. This workshop is a brilliant opportunity for budding stars to develop their performance skills, make new friends, and build confidence in a safe, inclusive, and nurturing environment. Synopsis: Marlin, an anxious clownfish, lives a quiet life in the Great Barrier Reef with his son, Nemo—until Nemo is captured and taken to Sydney. Marlin sets off across the ocean, encountering unforgettable characters like the optimistic Dory, the cool sea turtle Crush, and the determined Tank Gang. Together, they all learn about courage, friendship, and the meaning of family. Ages: 6–12 (Participants must be at least 6 years old by the date of the performance) Cost: $395.00 (Includes rights, royalties, staffing, venue hire, set and props. Additional costume hire fee may apply.) AUDITION DETAILS (for speaking/featured roles) Date: Sunday 8th June 2025 Time: 9:00am–12:00pm (Sign-in from 8:45am) Location: BGPA Studio, 12 Jamieson Street, Bowen Hills QLD 4006 What to Expect: All auditionees will participate in a vocal, acting, and dance workshop to help the creative team assess where each student fits best in the cast. What to Prepare: One monologue from the provided selection (available via Dropbox link). Off-book is highly encouraged. No preparation required for the dance or vocal components — these will be taught on the day. Alternate Option: If you are unable to attend the audition day, online video submissions are accepted. Please email info@bgperformingarts.com to arrange. Audition Pack: Click here to access via Dropbox Registration: Register Here AVAILABLE ROLES: Marlin – An anxious but brave clownfish and Nemo’s dad Nemo – Curious and spirited young fish with a “lucky fin” Dory – Optimistic, loyal, and forgetful regal blue tang Gill – Battle-scarred tank leader, inspiring and intense Bruce – A great white shark trying to go vegetarian Anchor & Chum – Bruce’s fish-loving shark friends Professor Ray – Fun, energetic stingray teacher Crush – Laid-back 150-year-old sea turtle Squirt – Crush’s playful young son Peach – Smart and observant starfish Bubbles – Yellow tang obsessed with bubbles Bloat – Nervous blowfish Gurgle – Germaphobic royal gramma Sheldon – A seahorse with allergies Pearl – A cute baby octopus Tad – Loud and bold schoolmate Nigel, Tiller, Jib, Sprit – Knowledgeable pelicans Scuba Mask Dancer – Moves diver’s mask through water Other Roles: Sea chorus, jellyfish, seahorses, reef parents, sea turtles, fish friends, sharks, seagulls, and more! WORKSHOP SCHEDULE IN-STUDIO REHEARSALS: BGPA Bowen Hills Studio – 12 Jamieson Street, Bowen Hills Monday 30th June – Thursday 3rd July: 9:00am – 3:30pm VENUE REHEARSALS: Everton Park SHS Performing Arts Centre – 668 Stafford Road, Everton Park Friday 4th July: 9:00am – 5:30pm Saturday 5th July: 10:00am – 7:30pm PERFORMANCES: Saturday 5th July 2025 - 4:00pm & 6:00pm at Everton Park SHS Performing Arts Centre CREATIVE TEAM Director & Choreographer: Bella Gordon Music Director: Mia Hunt Production Website: www.bgperformingarts.com Enquiries: info@bgperformingarts.com

Title: Veronica’s Room Presented By: Nash Theatre Genre: Psychological Thriller / Drama Synopsis: Set in a mansion outside Boston in 1973, Veronica’s Room follows Susan, a young woman who is lured into a Victorian-era bedroom under the guise of helping a dying woman find peace. What begins as an innocent gesture quickly spirals into a chilling web of identity, manipulation, and psychological torment. Written by Ira Levin (Deathtrap, Rosemary’s Baby), this sinister and suspenseful play keeps audiences on the edge of their seats with a haunting blend of mystery and horror. Audition Date: Saturday 24 May, 2025 Audition Time: 10:00 am Audition Location and Address: Nash Theatre Play Shed, 4 Amity Street, New Farm QLD Audition Requirements: Cold read from the script. Actors must demonstrate accent capability as per character requirements. Available Roles: One Female and One Male (50–60 years): Must be capable of performing with both American and Irish accents. One Female and One Male (25–30 years): Must be capable of performing with American (Boston) accents. Audition Registration: No pre-registration required. Just arrive on the day. Performance Dates: 8–30 August 2025 Performance Location: The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm Production Website: www.nashtheatre.com Other Information: Open auditions—newcomers and returning Nashies welcome. Cast members must become Nash Theatre members (required by insurance). For enquiries, contact Susan O’Toole-Cridland: susan.cridland@gmail.com

Title: Hello, Dolly! Presented By: Savoyards Musical Comedy Society Inc. Genre: Musical Theatre – Golden Age Comedy Synopsis: Set in 1890s New York City, Hello, Dolly! is a bold, brassy musical comedy that follows the charming and meddlesome widow Dolly Gallagher Levi – a professional matchmaker with a penchant for meddling. On a mission to find a match for the wealthy and grumpy Horace Vandergelder, Dolly orchestrates romantic chaos not only for him but also for his two love-hungry clerks. Bursting with energy, wit, and unforgettable tunes including “Put on Your Sunday Clothes”, “Before the Parade Passes By” and the iconic “Hello, Dolly”, this classic musical celebrates love, adventure, and the joy of seizing life’s opportunities. AUDITION DETAILS: Audition Dates: Friday 27th June – Monday 30th June, 2025 Audition Times: Friday 27 June – Savoyards Hall, Manly: 7pm – 10pm (Principal Auditions) Saturday 28 June – Wynnum SHS, Manly: 9am – 12:30pm (Principal Auditions) 1pm – 1:45pm (Basic Dance Call) 1:45pm – 2:30pm (Advanced Dance Call) 2:45pm – 5pm (Principal Auditions) Sunday 29 June – Bayside Dance, Wynnum: 9am – 12:30pm (Principal Auditions) 1pm – 1:45pm (Basic Dance Call) 1:45pm – 2:15pm (Ensemble Singing) 2:15pm – 3pm (Advanced Dance Call) 3pm – 5pm (Principal Auditions with accompanist) Monday 30 June – Savoyards Hall, Manly: 7pm – 10pm (Principal Auditions) AUDITION REQUIREMENTS Required Age: 16+ Ensemble Singing – Group Audition: Sunday 29th June, 2025: 1:45pm – 2:15pm No preparation required; a song excerpt will be taught during the audition Please arrive 15 minutes early to register and receive a number allocation No movement component – please also register for a dance call Basic Dance Call – Group Auditions: Saturday 28th June or Sunday 29th June: 1:00pm – 1:45pm Movement video provided upon registration – please familiarise yourself in advance Wear clothing suitable for movement and appropriate footwear Please arrive 15 minutes early Advanced Dance Call – Group Auditions: Saturday 28th June: 1:45pm – 2:30pm Sunday 29th June: 2:15pm – 3:00pm Routine taught on the day – no prior preparation required Please warm up and stretch beforehand Wear clothing suitable for movement and appropriate footwear Please arrive 15 minutes early Principal Auditions – By Appointment: Prepare 2 x 90-second song excerpts (at least one comedic and ideally from the era/Golden Age musicals) Be prepared for a vocal range test Cold reads will be provided on the day – come open to play and explore Bring a completed audition form listing all clashes with the show calendar Provide a non-returnable colour headshot (minimum size 10cm x 15cm) If using the accompanist (available Sunday 29th June, 3pm–5pm), bring clearly marked sheet music in a display folder If using backing tracks, bring an aux cable–ready device Audition Registration: To register, email auditions@savoyards.com.au Audition Pack: Click here to access the audition pack SCHEDULING Rehearsal Dates: Commence Sunday 6th July, 2025 at Wynnum High School, Peel Street, Manly. Rehearsal Times: Sundays: 12pm – 5pm Mondays: 7pm – 10pm Wednesdays: 7pm – 10pm Performance Dates: At Iona Performing Arts Centre, 85 North Road, Wynnum West: Saturday 27th September, 7:30pm Sunday 28th September, 1:30pm Saturday 4th October, 1:30pm & 7:30pm Sunday 5th October, 1:30pm Saturday 11th October, 1:30pm & 7:30pm Creative Team: Director: Kristen Barros Musical Director: Jacob Cavanough Choreographer: Bec Swain Vocal Director/Assistant Director: Julie Eisentrager Production Website: savoyards.com.au/audition Other information: Callbacks will be held Wednesday 2nd July, 2025 from 7pm – 10pm at Wynnum SHS. If you are required for call backs, you will be notified at the end of the audition weekend via your mobile contact. Savoyards is a volunteer-run community organisation. All cast members are expected to contribute to bump-in, bump-out, and other backstage elements throughout the production. Notification of offers: Offers via phone Unsuccessful notifications via email Social media blackout applies for successful cast until approved CHARACTER BREAKDOWN: (All character roles require a principal audition) DOLLY GALLAGHER LEVI A charismatic and resourceful widow who makes a living through matchmaking and meddling. Dolly is the heart and soul of the show—bold, brilliant, and full of life. Needs excellent comic timing, warmth, and commanding stage presence. Stage Age: 35–50 Vocal Range: Mezzo-soprano Dance Ability: Some HORACE VANDERGELDER A gruff, wealthy feed store owner from Yonkers. Set in his ways and not easily impressed, but ultimately won over by Dolly’s exuberance. Stage Age: 40–60 Vocal Range: Baritone Dance Ability: Some CORNELIUS HACKL Vandergelder’s chief clerk. Naïve but earnest, with dreams of love and adventure in New York. A hopeless romantic with strong comedic instincts. Stage Age: 30–35 Vocal Range: Baritone Dance Ability: Strong BARNABY TUCKER Cornelius’s younger assistant. Innocent, enthusiastic, and impressionable. Offers comic relief through his sweet, boyish charm. Stage Age: 17–20 Vocal Range: Baritone Dance Ability: Strong IRENE MOLLOY A stylish and sophisticated milliner who owns a hat shop in New York. A widow who longs for more excitement in her life. Stage Age: 30–35 Vocal Range: Soprano Dance Ability: Strong MINNIE FAY Irene’s young assistant. Talkative, quirky, and high-energy. A comedic role that requires great timing and physicality. Stage Age: 17–20 Vocal Range: Mezzo-soprano Dance Ability: Strong AMBROSE KEMPER A well-meaning young artist, slightly anxious but determined to marry Ermengarde despite her uncle’s disapproval. Stage Age: 19–23 Vocal Range: Tenor Dance Ability: Strong ERMENGARDE Horace’s melodramatic, tearful niece who is desperately in love with Ambrose. A character role with exaggerated comedic moments. Stage Age: 17–20 Vocal Range: Mezzo-soprano Dance Ability: Strong RUDOLPH REISENWEBER The proud, precise, and commanding maître d’ of the Harmonia Gardens. A comedic supporting role with strong presence. Stage Age: 40–60 Vocal Range: Bass Dance Ability: Some ENSEMBLE / DANCERS This will be a true ensemble-driven production, and we are seeking strong singers, actors, and dancers to play a wide variety of featured roles and help bring the world of the musical to life. Ensemble members will portray: Townspeople, Yonkers Band Members, Harmonia Gardens Patrons, Polka Contest Contestants, Lodge Members…and more!

Title: COSI Presented By: Centenary Theatre Group Genre: Australian Comedy-Drama Synopsis: A beloved Australian classic, COSI by Louis Nowra is a funny, heartfelt, and chaotic look into the power of theatre, mental health, and human connection.Set in a Melbourne mental institution in the 1970s, a young aspiring director is thrust into the deep end when he's tasked with staging Mozart’s Cosi fan tutte—with a cast of patients, each managing their own unique challenges. What unfolds is a riotous exploration of madness, love, obsession, and the redemptive joy of performance. Audition Date: Saturday 14th June 2025 Audition Time: 10:00am Audition Location and Address: Centenary Theatre Group, Halsbury St & Queenscroft St, Chelmer QLD Audition Requirements: Auditions by registration only – bookings essential. Please email the director to receive the audition pack and secure your place. Contact: Julie Collins – directorjules27@gmail.com Available Roles: (Note: Several actors will be required to play multiple roles) Lewis – Male, 20s. The protagonist, a young and idealistic director. Roy – Male, 40s–50s. A manic depressive with big dreams and theatrical flair. Julie / Lucy – Female, 20s. Julie is a patient and junkie; Lucy is Lewis’ girlfriend (small role). Justin / Nick / Zac – Male, 20s. A triple role: Justin is a social worker; Nick is a director; Zac is a doped-up musician. Doug – Male, 20s–40s. A pyromaniac with little filter. Cherry – Female, 20s–40s. An overeater with a fiery crush on Lewis. Ruth – Female, 30s–50s. An obsessive-compulsive with a keen eye for detail. Henry – Male, 40s–60s. A silent, stuttering ex-lawyer with a tragic past. Performance Dates: 5th – 28th September 2025 at Centenary Theatre Group, Chelmer QLD Warnings: Contains themes of mental illness, drug use, and coarse language Production Website: https://centenarytheatre.com.au/

Season:  9 May – 31 May Lyrics by Tim Rice | Music by Andrew Lloyd Webber Directed and Vocal Directed by David Valks | Choreographed by Jackson Cook & Lucy Martin Spotlight Theatrical Company continues to cement its reputation as a powerhouse of community theatre with its latest production of Joseph and the Amazing Technicolor Dreamcoat . If any dream will do , then this production is surely the dreamiest of them all — a glittering technicolor explosion of energy, humour, and an overflowing rainbow palette of joy. This classic Lloyd Webber and Rice musical may be entirely sung-through, but it’s the physical storytelling, vibrant design, and larger-than-life theatrics that truly make this Joseph  sing. (Well… that, and the powerhouse vocals throughout.) After their dazzling production of Fame , I knew I couldn’t miss seeing how Spotlight would tackle Joseph . I brought my mum along as a special Mother’s Day treat — she hadn’t seen Joseph  live on stage since the 1970s (except for the Donny Osmond film, naturally). I even dressed the part in my brightest rainbow dress, and let’s just say I blended in beautifully — “a walking work of art,” or, as Ashley Williams adorably flubbed mid-show, “a working walk of art.” We love a tongue-tied moment. Director David Valks, who has himself performed this show in the UK, brings his vibrant vision to life on the Gold Coast stage. The brilliance of this show lies in its genre-hopping score: one moment it’s Elvis-style rock ‘n’ roll, the next it's calypso, then it’s country-western, or French chanson. The story follows dream-interpreting golden boy Joseph, the favourite son of Jacob, who is sold into slavery by his eleven jealous brothers (rude…). But don’t worry — this isn’t a tragedy. It’s an all-singing, all-dancing, glitter-clad tale of dreams, despair, and eventual redemption. It’s more than a biblical retelling; it’s a kaleidoscope of camp and show-stopping musical moments that light up the Spotlight stage. Joseph’s Dream Team Ashley Williams is an absolute dream as Joseph — bright-eyed, sweet-voiced, and sparkling with warmth from his very first entrance. He radiates boyish charm, making him instantly loveable (although not to his brothers…), and he sings with a crystal-clear tone that could part the Red Sea. He performs with heart and humility — there’s no obvious ego here, just sheer passion and a connection to the role. From the opening of "Any Dream Will Do," he beams his way through the show like a technicolour tornado. He looks positively fabulous in the iconic coat of many colours, twirling like he's starring in his own Kylie Minogue music video—“I’m spinning around, move outta my way!” But it’s in " Close Every Door" — one of my favourite group ballads — where Ashley truly stops the show. Bathed in dramatic backlight and drenched in reverb, his voice soars with stunning clarity and effortless strength. With the haunting richness of the backing harmonies, it’s one of the most breathtaking moments in the production. I genuinely wish I could bottle that moment and carry it with me. (Though I did expect the children to have faux candles in this scene — it felt like the touch that was missing from the "children of Israel are never alone!" moment.) Leah Erskine is the show’s guiding star — our ever-present Narrator, and the vibrant thread weaving the entire story together. With a rich, expressive vocal tone and the stamina of a Broadway marathoner, Leah tackles this vocally relentless role with ease, beauty, and crystal-clear storytelling. The narrator role is no easy feat — she’s in almost every number, darting between styles and moods at lightning speed — but Leah never drops her energy for a second. Whether delivering tender moments with sincerity in "Poor Poor Joseph"  or charging headfirst into wild chaos like “Potiphar” , or belting the roof off in "Pharaoh Story" , she does it all with seasoned confidence. I would’ve loved to see a little more sass and camp in her delivery at times — but it definitely peeked through during one particularly cheeky moment when her spotlight arrived fashionably late and she gave it a perfectly timed “really?” reaction. In a show bursting with big moments, Leah Erskine remains a steady, sparkling presence. Andrew King is fabulous as the rhinestoned, hip-thrusting Pharaoh. His rendition of “Song of the King” is so wildly entertaining, they give it to us twice. It’s a perfect blend of Vegas glitz, gospel power, and playful absurdity. From the moment he swaggers onstage in his iconic bedazzled jumpsuit, flanked by glamorous showgirls and surrounded by slot machines, Andrew owns the space with magnetic charisma. And watching Ashley, as Joseph, look utterly baffled by this surreal world of glitz and glamour was the cherry on top. The ensemble in Joseph  is an absolute force — bursting with energy, vocal power, and a delicious dose of camp. From the moment the eleven brothers burst through the audience in “Jacob and Sons,” they’re alive with a cheeky theatricality that never lets up. In “Joseph’s Dreams,”  their bitter dramatics are perfectly over-the-top, but then in “Those Canaan Days,”  they channel full faux-French ennui with berets, cravats, and exaggerated misery. Andy Macfarlane  leads the lamentations and his Apache-style dance break with Bianca Riek is electric. And that endlessly drawn-out “where diiiiiiiid they go” line? Iconic. Each performer brings something unique, but in the big group numbers, I couldn’t take my eyes off Greyson Vaughn, Lucy Martin, and Perrin Gilbert — their commitment, expressions, and character choices were magnetic. The whole ensemble shines, but those three are scene-stealing spark plugs. Perrin Gilbert (Naphtali and alternate Joseph) delivers “One More Angel in Heaven” with a yee-haw accent and spirit that’s utterly infectious, leading a sparkling hoedown backed by Lucy Martin as a cowgirl angel. It’s toe-tapping, twangy fun at its finest — and another example of how this ensemble handles every musical style thrown at them with ease.   Carey Parsons brings a dual delight as Jacob and Potiphar — giving the former a melodramatic flair (wailing every time Joseph is mentioned) and grounding the latter with showbiz pizzaz. Jasmine Andrews sizzles as Potiphar’s Wife, making the most of a blink-and-you’ll-miss-it role with a sultry, stylised dance solo that oozes confidence and character. “Potiphar” itself is a standout — styled like a golden-age Broadway number, all flapper flair and barbershop bounce, while Leah steals the scene with her commitment to the frantic pace. The dancers whip through the fast choreography and all their quick changes like pros! Speaking of dancers — the featured sextet of Lucy Martin, Jasmine Andrews, Bianca Riek, Tiahni Wilton, Heidi Haywood, and Natalie Cassaniti are firecrackers. They emerge through the set like disco-dream spirits, glittering in sparkly bralettes and colourful chiffon skirts, lighting up the stage with their beaming faces. In an up-close theatre like Spotlight, there’s no hiding, and these ladies know it. Their faces are always switched on, and it adds so much polish and professionalism to every number they appear in.   “Go Go Go Joseph” erupts in a blur of psychedelic colour, go-go boots, and lightning-fast choreography — the ultimate energy explosion and everything I wanted from this song. If you’re not dancing in your seat by the end, check your pulse because you must be dead. The second act keeps the energy high. “The Benjamin Calypso” is a tropical interlude with Anthony Vitetzakis leading with fabulous flair (and an even more fabulous costume). The choreography here is so vibrant, and I love that Joseph’s attempt to discipline his brothers is met with a full-on dance number. Respect. And just when you think it’s over — boom! The megamix kicks off: an eight-minute extravaganza of all your favourite tunes. Ending in a literal explosion of confetti, rainbow lights, and pyrotechnics. Ashley and Leah reprise “Any Dream Will Do” with heart and harmony — Ashley’s dreamy, Disney-prince vocals are the perfect send-off to leave the audience beaming. The cast must be exhausted by curtain call, but you’d never know it. Their commitment, energy, and love for what they do never falter.   Design, Direction & Dazzle The design elements are every bit as dazzling and dynamic as the show itself. Director David Valks’ clever and kinetic set design uses rotating pieces, neon-glittering pyramids, and hand-painted panels to whisk us from ancient deserts to depressing jail cells to full-blown Vegas in the blink of an eye. The ever-revolving set pieces keep transitions slick and snappy, ensuring the energy never dips and the storytelling never stalls. Valks’ direction leans into the joyful chaos of the show, balancing heartfelt moments with tongue-in-cheek humour scattered throughout—like the 'I identify as a camel' cow—had me snorting out loud (and I’m not even sorry).   Lighting by Thomas Bell drenches the stage in every color imaginable. From moody, golden tones in " Potiphar"  to haunting backlighting in " Close Every Door ," the lighting shifts beautifully with the tone and tempo. Marcus de Toit’s sound design is clean, crisp, and well-balanced — a blessing in a show with so many moving parts and layers. Special mention to the five powerhouse backing vocalists who elevate the ensemble sound with rich, textured harmonies and help fuel the momentum when the ensemble are catching their breath! The music is non-stop and the vocal team of David Valks and Penny Larcombe deserve a standing ovation for balancing the tight harmonies, wild tempos, and ever-changing styles. From the thundering anthems to the melancholic ballads, every number is given the attention it deserves. Costumes by Nada 'Red' Kulic and Pina Crisafulli Omeros are a glittering delight — a delicious buffet of sparkle, color, and cheeky musical theatre references to add a wink of theatrical inside jokes that the audience will adore (and a loving nod to Spotlight’s costume hire glory). From the pineapple headpieces to the show-stopping Elvis-meets-Vegas Pharaoh look, every costume earns its place in the spotlight.   The choreography, crafted by Jackson Cook and Lucy Martin , is an absolute triumph! Polished and energetic, it matches the show’s genre-hopping score beat for beat. Highlights include the hyper-kinetic ensemble mayhem of " Go Go Go Joseph" , the full-bodied hoedown of " One More Angel in Heaven" , and the utterly iconic " Joseph’s Coat"  — where each colour is spelled out with synchronised movement and gleeful precision, culminating in a jaw-dropping finale where Joseph’s coat stretches across the entire stage like a technicolor tidal wave. It’s like watching a human rainbow come to life!   Extra Magic The children’s ensemble (I saw the ‘Pharaoh’ cast) from Spotlight Youth Theatre is an adorable inclusion that gently balances out the surrounding adult chaos. It’s always a joy to see community productions create space for future stars — and these kids shine bright. They even open Act Two entirely on their own as they sing the Entr'acte! That said, a gentle reminder to sit up a little straighter, young ones — a few of you were giving hunchback. Remember we can always see you. And to the sweet boy who stifled a yawn mid-song: bless your cotton socks, you’re doing amazing, sweetie! From high-energy dance numbers and vibrant, glitter-drenched costumes (I loved  Joseph's sparkly sneakers) to unforgettable songs (seriously, just try  getting “Go Go Go Joseph”  out of your head), this show has it all. Spotlight has assembled a seriously talented and cohesive cast who seem to be having the absolute time of their lives. The creative team clearly understands exactly what Joseph  is — a colourful musical fever dream that thrives on spectacle, camp, and sincerity in equal measure. It may have a compact run time — Act 1 is a zippy 40 minutes — but the show packs a punch! It never drags, never dulls. I’d forgotten just how many bangers  are packed into this score. Every number is a celebration, and watching it live is the only way to truly experience its magic. If you’ve never seen Joseph  live — or if, like my mum, it’s been decades — don’t miss this chance to revisit a classic in all its glorious splendour. It’s a silly, sparkly, self-aware celebration of forgiveness, family, and following your dreams (even if your family throws you in a pit and fakes your death). Side note: if Joseph wants to interpret my  dreams, I recently dreamt I was at an actual Elvis Presley concert, but I spent the entire show showering in the dressing rooms. What does that mean ?! If you love theatre, drama, top-tier choreography, killer vocals, adorable kids, rainbows, confetti, and fun (so… everyone, really), Joseph and the Amazing Technicolor Dreamcoat  is an absolute must-see. It’s a wildly entertaining, extremely high-quality production that leaves you floating on a technicolour cloud of musical happiness. Run, don’t walk — and wear something bright! Tickets available here Photographs by Clay English (Vargo Studios)

Title: The Spongebob Musical - Youth Edition Presented By: Brisbane Junior Theatre Genre: Musical Theatre Synopsis: "The SpongeBob Musical" follows SpongeBob and his friends as they face a looming volcanic eruption that threatens to destroy Bikini Bottom. The musical features original songs by various artists and explores themes of optimism, friendship, and community. While the main focus is on saving their home, the musical also touches upon how people react to crisis and how impending doom can affect daily life. AUDITION DETAILS Audition Date: June 14, 2025 Time: 1:00 PM – 5:00 PM Location: Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Audition Requirements: All performers must prepare a monologue, song, and dance. Younger children may memorise a sentence or two instead of a full monologue. Auditions are required for lead, minor, featured dancer, and soloist roles. Everyone who auditions will be included in the cast. Audition Registration: Register Here Audition Pack: Download Here Audition Intensive: Date: June 7, 2025 Time: 12:00 PM – 3:00 PM Location: Emerge Church Upstairs Studio, 1 Coorparoo Road, Warner, QLD 4500 Cost: $50 Participants will develop essential audition skills, including: Monologue characterisation, movement, projection, and accents Acting while singing, storytelling, and vocal technique Dance and movement preparation Personalised feedback from directors Rehearsals & Performances Rehearsal Dates: June 30 – July 5, 2025 Rehearsal Times: Monday – Friday, 8:30 AM – 5:00 PM Performance Dates & Times: Friday, July 4, 2025 – 6:00 PM & 8:00 PM Saturday, July 5, 2025 – 2:00 PM & 4:00 PM Performance Venue: Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Ticket Costs: Adult: $25 Student/Concession: $20 (Tickets available soon) Production Fees: Cost: $395 (inc. GST) Covers costumes, rights & royalties, scripts, insurance, technical & creative staff, sets, props, venue hire, and a pizza dinner & drink on the Friday performance night. Performers must register and pay before auditioning. Production Website: Brisbane Junior Theatre AVAILABLE ROLES: SpongeBob SquarePants (Range: C3-B4) optimistic, innocent; energetic and sometimes hyperactive. This actor should move well and be an extremely physical actor - unafraid of climbing and being on tall objects. Naturally funny with great comedic skills and precision. Strong pop tenor. Sandy Cheeks (Range: A3-E5) A brainy athletic Texan squirrel who came to Bikini Bottom for a research project. SpongeBob's most trusted ally on their quest to stop the volcano from erupting. Martial Arts skills a plus - unafraid of climbing and being on tall objects. Patrick Star (Range: Bb2-Bb4) Well-intentioned, but clueless; a big softie, who can also be prone to sudden child-like fits of rage or frustration. Squidward Q. Tentacles (Range: A2-F#4) Grumpy, cynical, dry, short tempered, generally negative but loveable! This Actor must move well. Strong tapper preferred. Eugene Krabs (Range: B2-Bb4) The greedy owner of the Krusty Krab, and employer of SpongeBob and Squidward. Does whatever he can to make himself richer. Sheldon J. Plankton (Range: B2-G#4) His personality outweighs his size- slick, scheming, nefarious; has the ability to charm; determined, he will do anything to get ahead in life; but his heart is still open enough to rekindle a romance with his wife. This character will need to dance and rap. Karen the Computer (Range: G#3-F#5) Sassy, the computer wife of Plankton. She's been there for Plankton's every scheme and plot. Strong comic actress, as well as Singer and Mover. Pearl Krabs (Range: Bb3-F#5) Mr. Krabs' teenaged daughter who just wants to be understood by her father and sing with the Electric Skates. This is a character role with Gospel vocal overtones. The Mayor of Bikini Bottom (Range: F#4-B5) Standard Politician Perch Perkins (Range: E2-E4) News reporter French Narrator Spoken role Patchy the Pirate (Range: D3-F4 with F5 falsetto) Misunderstood pirate from the painting Electric Skates: Rock and roll band members, the Skates are hard-core rockers. Very comfortable on skateboards/scooters (ability to do tricks a plus). Also open to rollerskates/inline skating. A variety of character types to play several featured ensemble roles; Roles for groups, soloist and comedians as well as strong dance roles. Sardines, Security Guards, Old Man Jenkins, Mrs. Puff, Gary the Snail, Larry the Lobster, Plankton's Backup Dancers, Pirates And More!!! The Foley Artist Fish is a staged role that produces all sound effects specified in the script and score using percussion instruments, triggered digital effects, and other creative sound makers.

Title:   Little Women Presented by:  Phoenix Ensemble Directed by:  Tammy Sarah Linde Venue:  The Tin Shed Theatre, Beenleigh Season:  Now playing until 24 May – Tickets available here A Sisterhood Brought to Life Phoenix Ensemble’s Little Women  is a warm, nostalgic, and emotionally rich musical that invites us into the world of the March family. Set during the American Civil War, the story is adapted from Louisa May Alcott’s beloved novels Little Women  and Good Wives  (two of my personal favourites!). It follows the lives of the four March sisters—Jo, Meg, Beth, and Amy—as they navigate the trials of growing up, sisterhood, grief, and love. The musical is framed by Jo March (Emma Erdis), a spirited aspiring writer living in New York, who reflects on her youth with her sisters and mother Marmee (Samantha O’Hare) during their father’s wartime absence. As Jo strives for independence and literary success, she battles societal expectations, sibling rivalry, and personal heartbreak, ultimately finding her voice through the power of storytelling. Stephanie Bateman’s set feels cosy and welcoming—oil lamps, quills, fireplace, Amy’s precious sketches, and a little library of well-loved stories—it’s a space brimming with detail and lived-in charm. Maddison Joyce’s period costumes bring a lovely authenticity and softness to each character. Amy’s butter-yellow dress, Jo’s earthy brown tweeds, Beth’s gentle blues—each sister’s personality shines through their wardrobe. From the first harmonies of “Our Finest Dreams,” we’re drawn into the March sisters’ world of rich vocals, sisterly warmth, and instantly engaging energy. The orchestra, neatly nestled in the corner (as always with Phoenix), sounds glorious, with Kym Brown’s musical direction bringing a fullness to the score that supports every musical moment beautifully. If you haven’t heard the Little Women  soundtrack before, every single song is stunning. And not only that, but each is delivered beautifully by this exceptional cast. Emma Erdis is magnetic as the untamed, passionate, and assertive Jo March. They embody Jo’s bold spirit and fierce heart with remarkable ease, whether it’s a fiery retort, a flash of creative direction, or a moment of tender vulnerability. Emma wears Jo's emotions on their sleeve, just as the character demands. Their rendition of “Astonishing” as the Act One closer is a full emotional journey—moving from fury, to inner conflict, to determined resolve—powered by a voice that fuses theatrical strength with moments of operatic grace. Emma also shares a sweet, lavender-hued dynamic with Joshua Bird’s Laurie—playful, mismatched, and brimming with youthful affection. Stephanie Collins presents a gentle and understated Meg—demure and proper on the outside, but with hidden insecurities (and dreams) that peek through her poise. Her duet with Mark James as John Brooke, “More Than I Am,” is softly romantic and divinely performed in Steph's distinctive classical soprano. Kayleigh Bancroft and Madeleine Ford are completely believable as the youngest March sisters, Beth and Amy. Bancroft as Beth feels like a ray of sunshine—exuding sweet optimism and compassion, her radiance lighting up every scene. Her chemistry with Warryn James’ initially gruff Mr. Laurence blooms sweetly in “Off to Massachusetts,” one of the show’s more tender moments. Madeleine Ford’s Amy is a force to be reckoned with—bratty, bold, and brilliantly real. She leans all the way into Amy’s whiny jealousy and self-righteousness, making her tantrum and destruction of Jo’s manuscript genuinely painful to witness (yes, it still hurts!). Jo's reprise of “Better” in response is searing and vocally expressive. I actually hated Madeleine a little in that moment—and I mean that as a compliment. That’s what makes her growth so rewarding. She makes Amy’s transformation feel honest and earned by the end. Joshua Bird as Laurie is delightful, with his beaming grin and buoyant tenor voice lighting up the stage in the vocally demanding “Take a Chance on Me” (no, not the ABBA song). His scenes with Emma are quirky and endearing, although (spoiler alert) the heartbreak in his rejection scene didn’t quite land as hard as it could have. That said, his eventual pairing with Amy in “The Most Amazing Thing” is sweet and feels much more suited. Samantha O’Hare as Marmee grounds the production with dignity, strength, and maternal love. Her solo “Here Alone” aches with loneliness, while “Days of Plenty” is a crushing showstopper—emotionally raw while somehow being vocally perfect, made even more haunting as rain began to fall on the theatre’s tin roof. Thanks for making me cry Sam. Philippa Bowe as Aunt March steals scenes with her commanding presence and dry wit, made even more memorable by her hilariously enormous hoop skirt that feels like a set piece in itself! Her duet with Jo, “Could You?” , is sharp, fun, and vocally strong. August Cocks’ Professor Bhaer doesn’t get much stage time in Act One (since it is Jo’s reminiscence after all), but he shines in Act Two as his affection for (a now grown-up) Jo grows. His German accent is believable, and he plays the awkward intellectual with a real sweetness. His “How I Am” was a quiet favourite of mine, and the final duet “Small Umbrella in the Rain” with Emma is a soft, beautiful capstone to Jo's journey. Mark James is a sincere and bashful John Brooke, particularly sweet in his early interactions with Meg. Though... Mr. Brooke really does need to tie up his hair or curl it away from his face—it blocks too many expressions, and it doesn’t suit the time period. A quick restyle would go a long way! Act Two dives deeper into the bittersweet reality of growing up as each sister walks her own path—Jo in New York, Amy abroad, Meg as a wife and mother, and Beth’s health deteriorating. “Some Things Are Meant to Be,” sung by Jo and Beth as they dream up adventures that will never come to be, is gut-wrenchingly beautiful. Emma’s final numbers, “The Fire Within Me” and “Sometimes When You Dream,” bring Jo’s arc to a powerful, poetic conclusion—her grief, her growth, and her resilience culminating in the novel that tells the story we’ve just lived through. Tammy Sarah Linde’s direction is sensitive and well-paced, capturing both the intimate domestic joys and the sweeping emotional themes of Alcott’s story. It feels like a love letter to the books and their readers. That said, there were a few moments where blocking could have been tightened—occasionally, actors faced directly away from the audience or towards the wings, which disrupted connection. Angling these scenes more would help maintain sightlines and keep the audience emotionally engaged. Similarly, ensuring hair and wigs are styled away from the face would allow facial expressions to land more clearly. A few more interactions between Jo and Beth in Act One (they are supposedly inseparable) would also elevate the emotional clarity of their bond before Act Two’s heartbreaking climax. I didn’t quite feel the full weight of Jo’s devastation and anger when Amy destroyed her manuscript—probably feeling less tense because the actors clearly get along. Likewise, the grief from Laurie, Amy, and Meg over Beth’s death didn’t quite hit with the emotional force it should have. On a different note, Emma conveyed Jo’s elation beautifully in the scenes surrounding her dreams of travelling and literary success. I also loved Kayleigh’s expressive face throughout, and particularly the effective choice to rouge her cheeks during Beth’s scarlet fever, which added to the visual impact of her decline. Hannah Macri’s choreography adds fun and flow, especially in upbeat numbers “I’d Be Delighted” and the criminally short but wonderfully joyful “Five Forever.” Andrew Haden’s lighting design subtly shifts us between playful and poignant tones, while Luke O’Hagan’s sound design ensures vocals and orchestrations blend well throughout. Phoenix Ensemble’s Little Women  is a heartfelt and moving production. With a strong ensemble cast, excellent vocals, and sensitive storytelling, it’s a loving tribute to one of literature’s most beloved families. Whether you’re new to the March sisters or you’ve loved them for years, this show is absolutely worth your time. 🎟️ Click here to book tickets  – the season runs until 24 May.