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Title: Youth Cabaret Slam Presented By: Room to Play Kids Genre: Cabaret / Youth Performance Synopsis: The Youth Cabaret Slam is a curated and audition-based extension of the monthly Youth Scratch Nights held at Room to Play Kids. This event will feature eight to ten young performers each month, each showcasing a talent no longer than five minutes. Performances can range from musical items, monologues, comedy skits, dance pieces, poetry, magic tricks, and more. At the end of the night, the audience and guest judges will vote to crown a Youth Cabaret Slam winner, who will receive a small prize. The event will conclude with a ten-minute open mic session for audience members who wish to perform. Audition Information: To perform on the night, interested individuals can either send a video audition or attend an in-person audition. Email Virag at virag@roomtoplay.com.au  for more details. Ages : 8-16 years old Performance Dates: Friday, 6th September 2024 Performance Times: 7:30 pm - 8:30 pm Performance Location and Address: BrisWest Centre, 132 Latrobe Terrace, Paddington QLD Ticket Costs: Concession: $10 Adult: $15 Group of three or more: $30 Ticket Link: Get tickets

Title:  The Best of Broadway Presented By:  Kirkman & Scott Productions Genre:  Musical Theatre Compilation Synopsis: The Best of Broadway is a dazzling compilation of highlights from popular Broadway musicals. This production features some of the most beloved songs and scenes from a variety of iconic shows, showcasing the talents of strong singers and dynamic performers. Audition Date:  Saturday, 7 September 2024 Audition Time:  1:00pm Audition Location and Address:  Palmwoods Memorial Hall, 1 Main St, Palmwoods QLD Available Roles: We are casting a diverse ensemble of performers who will bring the best of Broadway to life. Strong singers with the ability to move well are encouraged to audition. Audition Registration:  To book an audition time, email info@kirkmanandscott.com.au  or call 0408 960 801 Performance Dates:  March 2025

Title:  Singin’ in the Rain Jr. Presented By:  Brisbane Junior Theatre Genre:  Musical Comedy Synopsis: Singin' in the Rain JR.  is a dazzling adaptation of the “Greatest Movie Musical of All Time,” crafted by Broadway legends Betty Comden and Adolph Green. Packed with hilarious moments, catchy songs, and unforgettable characters, this show is a must for any young performer. Imagine being a Hollywood starlet or a leading man, caught up in a whirlwind romance that could change your life! On screen, Don Lockwood and Lina Lamont are the perfect pair, but off-screen, it’s a different story. With Lina’s quirky voice causing chaos in the new world of “talking pictures,” a talented young actress might just be the key to saving the day. Audition Date:  Saturday, 7 September 2024 Audition Time:  1:00 PM - 4:00 PM Audition Location and Address:  Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: Audition Intensive: August 31st, 12:00 PM - 3:00 PM at Emerge Church Upstairs Studio. Cost: $50. Participants are required to sing a song, dance, and memorise a monologue with the required characterisation. Younger children may memorise a sentence or two instead of the entire monologue. Auditions are required for lead or minor roles, featured dancers, or soloists. Everyone who auditions will be included in the cast. Audition Registration: Production Registration Form Audition Side: Audition Monologue Performance Dates: Friday, 20 September 2024 Saturday, 21 September 2024 Performance Location: Emerge, 1 Coorparoo Road, Warner, QLD 4500 Rehearsal Dates: 17 September 2024 - 21 September 2024 Rehearsal Times: Monday to Friday, 8:30 AM - 5:00 PM Production Website: Singin’ in the Rain JR.

Title:  The Addams Family Presented By:  Loic Valmy Broadway Academy Genre:  Musical Comedy Synopsis: The Addams Family  features an original story that’s every father’s nightmare. Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family — a man her parents have never met. Wednesday confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he’s never done before — keep a secret from his beloved wife, Morticia. Everything changes for the whole family on the fateful night they host a dinner for Wednesday’s ‘normal’ boyfriend and his parents. Audition Date:  Saturday, 31 August 2024 Audition Time:  12:00 PM - 3:00 PM Audition Location and Address:  Alchemy Studios Brisbane, Lutwyche Audition Requirements: Auditions are upon application ONLY. Must sign up for the Holiday Workshop to audition. Cold read from sides provided on the day. Participants will be part of the production as ensemble if they do not receive their preferred role. Open to all participants aged 7 to 17 years old. Audition Registration: The Addams Family Auditions Performance Dates:  Saturday, 21 September 2024 Performance Times:  2:00 PM & 4:00 PM Performance Location:  Stagehouse Theatre, Hayward Street, Stafford Rehearsal Dates:  16 September 2024 - 20 September 2024 Rehearsal Times:  9:00 AM - 4:00 PM Rehearsal Location:  Alchemy Studios Brisbane, Lutwyche Other information: Workshop fee: $395.00 Price includes: All workshops from 16/09 to 20/09, 9:00 AM - 4:00 PM Workshop materials (script, music sheets) Lead & supporting roles costumes 1 free show ticket per participant Professional photo pack of the performances BBQ lunch on Friday Pizza party lunch at the theatre on Saturday Insurances/Licensing Price does not include: Ensemble costumes & props Morning tea, lunch, and afternoon tea Contact: 07 3106 9983  or email LVBA for more information.

Title:  Christmas Belles Presented By:  St Luke’s Theatre Society Genre:  Comedy Synopsis: Set in a small Texas town, Christmas Belles  revolves around the Futrelle sisters and their efforts to pull off a grand Christmas pageant, despite various personal and community challenges. The play highlights the humorous and heartfelt chaos that ensues when they face off against Miss Geneva Musgrave, the former pageant organiser, and deal with a colourful cast of characters including a deputy sheriff, a local society matron, and a well-meaning pastor. Audition Date:  Saturday 24 August Audition Time:  9:00 AM - 12:00 PM Audition Location and Address:  Christ Church Hall, Cork Street, Yeronga Audition Requirements: Cold read from sides provided on the day Group Christmas Carol singing (enthusiasm preferred over musical prowess) Optional: Short comedic piece in a Southern accent (for those who struggle with cold reads) All performers must have a Texan/Southern USA accent Available Roles: Miss Geneva Musgrave:  Female, 40-70 y.o. Honey Ray Futrelle:  Female, 45-59 y.o. Twink Futrelle:  Female, 35-50 y.o. Frankie Futrelle Dubberly:  Female, 35-49 y.o. Dub Dubberly:  Male, 40-49 y.o. Gina Jo (G.J.):  Female, 18-29 y.o. Rhonda Lynn Lampley:  Female, 50-60 y.o. John Curtis Bunter:  Male, 40-49 y.o. Justin Waverly:  Male, 20-29 y.o. Raynerd Chisum:  Male, 20-50 y.o. Patsy Price:  Female, 50-70 y.o. Audition Information: St Luke’s Theatre Auditions Performance Dates: 15, 16, 22, 23, 29, 30 November at 7:30 PM 16, 23, 30 November at 2:00 PM Performance Location: Christ Church Hall, Cork Street, Yeronga Rehearsal Dates: Sundays: 3:00 PM – 6:00 PM Mondays and Wednesdays: 7:00 PM – 9:30 PM Additional Tech Week Rehearsals: 9th Nov. to 14th Nov. (TBD) Other information: For more information or questions, contact the director at jasonnash@gmail.com .

Title : Disney's Alice in Wonderland JR. Presented By:  BeXDCreate Genre:  Musical Theatre Workshop Synopsis: When young Alice finds herself in a strange world where everything seems upside down, she must find her way home and find herself along the way. As she travels through Wonderland, she encounters all of the iconic characters that audiences have come to love: including the ever-tardy White Rabbit, the grinning Cheshire Cat, a cool Caterpillar, the wacky Mad Hatter, and the hot-tempered Queen of Hearts. Workshop Dates:  23rd - 28th September 2024 Workshop Times:  Monday - Saturday, 9 AM - 4 PM Workshop Location:  St Peter's Lutheran College Performing Arts Centre, 66 Harts Rd, Indooroopilly, QLD Workshop Cost:  $460 Workshop Booking Link: Book Now Recommended Age: Ages 6-17 (all experience levels welcome) Production Website: BEXDCreate Audition Requirements Auditions are optional! Every student in the workshop will be busy, challenged, and have every opportunity to learn regardless of whether they are a member of our ensemble or cast in a leading role. Please submit an audition if you would like to be considered for a character listed below. If you would like to audition for a character who does not have a specific audition side, please just pick your favourite one! You may audition for multiple characters if you wish. There are also many featured roles not listed below that will be cast during the week from the ensemble. All roles will be cast gender-neutral. Video Submissions: Please try to combine your introduction, song, and script together into one video. Please email auditions to admin@BeXDcreate.com Video submissions due: 2nd September 2024. Slate (Intro): Include a short snippet at the beginning introducing yourself so we can get to know you. Include your name, which character/s you'd like to be considered for, any performance and dance experience you have, as well as something fun about yourself! Audition Song: A 1-minute audition cut of any Disney, DreamWorks, or contemporary song. You may sing a song from the show if you wish. If you have never selected an ‘audition cut’ before, here are a few guidelines: Choose a section of the song that shows off your vocal ability and range, as well as your acting ability. A verse & chorus or the last minute of the song are usually a good choice. If there is a specific character you want to audition for, please select a song that is appropriate to that character. Don’t stress if your audition cut is over or under by a few seconds. Audition Side: Please prepare an audition side (short script) from this link for whichever character you would like to audition for. If you would like to audition for a character who does not have a specific audition side, please just pick your favourite one! You may audition for multiple characters if you wish. If you’re not auditioning for a specific character, please pick whichever script is your favourite! Try your best to learn it from memory. If you have never recorded an audition or self-tape like this before, here are a few guidelines: Have someone just behind the camera reading the other character’s lines. Face front on and look at the person you are talking to rather than down the camera lens when you are delivering your lines. This will help you ‘act’ the scene out too. Character Breakdowns: Alice:  A curious and adventurous girl. We're looking for a strong actor and singer for this role. Vocal range: Bb3-D5. Small Alice:  A role for a shorter actor playing the 'small' version of Alice. A curious and adventurous girl. Looking for a strong actor and singer. Vocal range: B3-A4. Tall Alice:  A role for a taller actor playing the 'tall' version of Alice. A curious and adventurous girl. Looking for a strong actor - no solo singing is required for this role. Queen of Hearts:  The highly feared, hot-tempered monarch of Wonderland. Looking for a dynamic actor and solo singing required. Vocal range: C4-D5. Tweedle Dee & Tweedle Dum:  Goofy twins with impeccable manners who are easily confused. Solo singing and great comic timing required! Vocal range: C#4-Eb5. Caterpillar:  A charming, theatrical, and encouraging soon-to-be-butterfly. Solo singing required. Vocal range: A#3-C#5. Dodo Bird:  Captain of the Queen’s Navy and referee of the caucus race. Solo singing and a strong stage presence required. Vocal range: B3-C5. Flowers:  The rudely exclusive Flowers of the Golden Afternoon. All flowers have solo singing and acting parts. These flowers create a 'pop girl-group' vibe. Vocal range: B3-D5. Alice’s Sister:  Alice’s older sister, who is kind, more logical, and grounded, unlike her sister. Acting only. King of Hearts:  The Queen’s quiet and polite partner. Acting only. Mad Hatter:  A tea party host with a penchant for hats and making up rules. Solo singing and acting required. Vocal range: Bb3-Bb4. March Hare:  The ever-celebrating and game-loving tea party host. Solo singing required. Vocal range: B3-B4. Royal Cards:  Ace of Spades, Two of Clubs, Three of Diamonds, and Four of Hearts - these nervous playing cards all have solo singing parts and need great comic timing. Wonderland Ensemble:  The zany, magical, and unique characters that Alice meets along her journey. This group includes participants in the caucus race, party guests at the tea party, and royal cards, servants of the Queen and King of Hearts.

Experience Hosts & Suit Character Performers Step 1:  Download and prepare the required audition material and paperwork for your role. Click here to download job descriptions Step 2:  Record and submit audition content by Friday, August 16th, 2024 . Please include a slate with your name, location, and a brief introduction that shows your personality. (Self-tape tips: Film horizontally, stay in frame, ensure good lighting and sound) Click here to download audition script If you only wish to be considered for Suit Character Performer, you won’t need to submit an audition script video. Step 3:  You will be contacted by a member of our recruitment team with your outcome. Successful candidates can expect to be contacted from early September 2024. Step 4:  Successful applicants will be invited to attend an in-person audition on Monday, September 9th, or Tuesday, September 10th, which will include plenty of flossing, physical theatre and improv games, team-building exercises, suit character costume testings, and of course, plenty of Bluey shenanigans! Step 5:  Interview with the recruitment team. Step 6:  Successful applicants will be contacted by our recruitment team. Step 7:  Training and rehearsals commence – October 14th – November 3rd. Step 8:  Bluey’s World opens November 7th, 2024 - Wakadoo! Apply Here:  Click here to apply Other Information: Experience Host:   Job Description The primary role of the Experience Host is to guide guests through the immersive experience in character, ensuring a memorable, magical, and enjoyable experience for visitors. This role requires high energy, strong storytelling abilities, and performing experience, particularly performing to a young demographic. Suit Character Performer:   Job Description You will take on the role of playing either Bluey or Bingo for Meet & Greets at Bluey’s World. The role requires a certain level of fitness, endurance, and high energy to ensure a memorable and enjoyable experience for our visitors. Prior experience as a Suit Character Performer is preferred. The maximum height for either suit is 165cm (Ideal range 155cm – 165cm). Applicants Must Be:  At least 16 years of age Venue:  Northshore Pavilion, 281 MacArthur Avenue, Hamilton, QLD 4007 Required Skills for Both Roles: Physical fitness and ability to maintain performance energy. Proven performing experience with live audiences, particularly a young demographic. Teamwork and effective communication skills. Adaptability and problem-solving under pressure. Desirable Skills: Experience as a Suit Character Performer or in child-centric environments. Multilingual abilities. Chaperoning skills. Puppeteering experience. Qualifications: Valid QLD Blue Card for working with children.

Set in the vast expanse of the Australian outback, Horizon emerges as a gripping theatre production that intertwines elements of thriller, drama, and social commentary. Conceived by playwright Maxine Mellor and presented by Playlab Theatre, this story delves deep into the psychological and emotional landscapes of its two characters, Sky and Cole. Horizon follows the journey of a young couple driving to Cole's family home to say goodbye to his dying father. Cole, an aspiring filmmaker, and Sky, a successful lawyer, embark on what begins as a playful road trip that quickly transforms into a suspenseful drama. The discovery of an old cassette mixtape with a disturbing recording of teenage Cole unearths buried secrets and triggers a cascade of revelations. Cole's self-proclaimed "Mr. Nice Guy," façade crumbles, exposing his lack of true compassion and revealing a sinister, unhinged side that contrasts sharply with Sky's strong, feminist stance. As they debate the infamous Lindy Chamberlain case, encounter dingoes, and confront their own troubled pasts, the journey becomes increasingly tense. Sky must navigate Cole's unravelling psyche in this isolated setting, while coming to grips with the unsettling truth about her boyfriend. An eerie soundscape fills the air as you settle into your seats, instantly immersing you in the tense atmosphere. The stage setup includes a classic Ford sedan on a revolving platform, flanked by two screens to project the road behind. The absence of glass in the car allows for fluidity for the actors' frequent entrances and exits through the car's openings. The performance begins with Cole and Sky engaging in a playful enactment of a zombie horror movie trailer. Maxine Mellor's script shifts between light-hearted humour and dark themes to capture the changing dynamics between the couple. Multiple times, the story halts as Cole or Sky climb onto the car to express their inner reflections in the style of slam poetry. Ashlee Lollback and Julian Curtis deliver electrifying performances. The physical constraints of driving—the need to keep hands on the wheel and eyes on the road—require the actor in the driver's seat to convey a range of emotions through facial expressions alone. Julian Curtis brings an unsettling intensity to his performance. Characterised by Cole's habit of narrating situations as if they are movie trailers using a dramatic deep American voice, he adds a layer of dark humour that reveals his desire for control. Curtis adeptly portrays Cole's descent into mania, his smile morphing into a menacing snarl as Sky begins to question his emotional detachment from his father and possible violent tendencies. Bloodied from an accident and triggered by Sky's persistent 'cross-examination', Cole's physicality becomes increasingly alarming and intimidating. The pivotal scene where Cole forces Sky back into the car, speeding recklessly down a dark dirt road while hurling cruel insults, is a testament to Curtis' ability to evoke genuine fear and revulsion. Cole's delusions of romance are met with groans of discomfort and nervous laughter from the female audience members, highlighting the unsettling familiarity of his entitled behaviour. Lollback's portrayal of Sky is multi-faceted, masterfully balancing the character's strength, vulnerability, and sharp intellect. The escalating suspicion and fear that Sky experiences are conveyed with gripping intensity, culminating in a dramatic confrontation that leaves the audience on the edge of their seats. As Cole’s true colours are revealed: entitled, desperate, and incapable of change, they contrast sharply with Sky’s evolving strength. Lollback's delivery of Sky's empowering "I am More" monologue is a poignant moment that deeply resonates. As a woman, I found myself deeply empathising with Sky's position, particularly as Cole's unsettling behaviour and emotional manipulation become increasingly apparent. David Walters' lighting design, Nathan Sibthorpe's visual design, and Guy Webster's sound design are integral to the production's success. The projections of the road, which transition from clear lines to blurred ones as the sun sets, are used as a narrative device, transforming the stage into an ever-changing landscape that mirrors the characters' psychological disorientation. By utilising car lights and interior illumination, the car itself is transformed into a potent character within the play. The sound design is equally immersive, with a carefully curated mix of music and effects that heighten the tension. Ian Lawson's direction of the play ensures a cohesive progression that builds suspense throughout. The scripted discussions are laden with subtext to offer more insight into their true emotions than their actions do. Memorable lines like "Sometimes all it takes is just a little shallow scratching to find the darkness in men" and "Shades of grey - I didn't say yes but I didn't say no" lingered with me long after the show. The character development is meticulously crafted, particularly in Cole's gradual transformation from a seemingly charming partner to a menacing presence, prompting the audience to constantly reevaluate their perception of him. Similarly, Sky's evolution from a confident professional seeking escape to a woman confronting her deepest fears is both empowering and heartbreaking.   The audience's reactions throughout the performance—from nods of recognition to audible gasps—are a testament to the play's gripping narrative and emotional depth. Horizon is more than a captivating theatrical performance; it is an experience that challenges the audience to confront the unsettling complexities of identity, relationships, and the darkness that lies within. Horizon is playing at the Brisbane Powerhouse until 10 August. Tickets available here. Wednesday 7 August 2pm offers a "Pay What You Wish" performance. To secure your spot, please register here . Advisory : Recommended for ages 15 and above. Includes adult themes, coarse language, sexual references, and simulated violence.

The Thrill of Love , presented by Centenary Theatre Group, explores the real-life story of Ruth Ellis. If, like me, you are have no idea who that is, she was the last woman to be executed in Britain. With Amanda Whittington's insightful script and Ashleigh Cates' thoughtful direction, this play invites its audience to ponder the blurred lines between victim and perpetrator. Set against the backdrop of 1950s London, the stage is adorned with period-appropriate furnishings and a well-equipped bar that not only sets the scene but also subtly reflects the characters' social milieu. The play opens with a dramatic bang—literally—as Ruth, played by Shelby Renton-McCarthy, fatally shoots her lover David with calm detachment. Note: I think it's important to familiarise oneself with basic details of Ruth Ellis' case beforehand to better understand the storyline. The cast delivers their performances with natural ease and authentic British accents, crafting a convincing and captivating depiction of this turbulent era. Renton-McCarthy brings Ruth Ellis to life with an unfiltered portrayal of a woman (and mother of two) torn apart by passion, violence, and societal struggles. Her performance captures Ruth's tough exterior and inner vulnerability to paint a vivid picture of a complex and enigmatic individual.   Isaac Tibbs as Inspector Jack Gale distinguishes himself with his purposeful and measured delivery, grounding the narrative with his engaging presence. He narrates the investigation's interludes through eloquent dialogue, engaging the audience with eye contact and attentively watching the unfolding flashbacks with us as an outside observer. Annie Filion brings a magnetic charm to Vicki Martin, Ruth's colleague turned close friend whose tragic end significantly affects Ruth's mental state. With her ambition, quirky demeanour, and allure, Filion crafts a memorable character. Hannah Davies plays Sylvia Shaw, the proprietor of the gentlemen's club where Ruth and Vicki are employed. She grapples with the dilemma of whether to offer support or enforce a firm hand with Ruth, truly embodying Sylvia's loyal but direct personality. The introduction of Doris, a character in the story thought to be based on Ruth's mother or a close friend, serves as a compassionate contrast to Ruth's unpredictable behaviour. Doris consistently stands by Ruth, offering her unwavering support and protection, even at the expense of her own well-being. Genevieve Whittred portrays Doris with a kind and nurturing attitude, providing a sense of comfort, particularly in the intense scenes discussing domestic violence. The disclosure of Ruth's miscarriage following an argument where David punched her in the stomach is a confronting moment that underscores the harsh realities of Ruth's life and her dependence on abusive men to avoid poverty. The costumes and wigs are generally elegant and appropriate for the period, with the exception of a strikingly bright red wig that prompted a humorous comment from an elderly audience member about the improbability of such a sight in 1955 London. The timeline of the play shifts frequently, moving between the present and the past, which might pose a challenge for some viewers. Nevertheless, this fragmented format allows for a deeper exploration of Ruth's psyche and the events that led up to her crime. We witness Ruth's descent into despair, driven by her multiple tumultuous relationships. David and Desmond, two significant lovers of hers, are not physically present in the narrative but their influence on the story is undeniable.   In the climactic scenes of the trial, Ruth's lack of remorse and her 'dolled-up' appearance perplexes everyone. In Holloway Prison, Sylvia and Doris visit Ruth and reveal the widespread controversy her case has ignited. The play concludes on a sombre note, a haunting reminder of the case's influence on British society and the subsequent abolishment of the death penalty. Renton-McCarthy portrays Ruth's stoic acceptance of her fate, her lack of regret, and her preference for a swift death rather than a lifetime of imprisonment in a chilling but empathetic manner.   The Thrill of Love is a compelling and emotionally impactful show that challenges its audience to confront tough questions concerning justice and morality. It serves as a reminder of the fragility of life and the devastating consequences of love gone awry. Now playing at Chelmer Community Hall until August 11th, 2024. Tickets available here

Title:  Sir Terry Pratchett’s The Fifth Elephant Presented By:  Brisbane Arts Theatre Genre:  Fantasy/Comedy Synopsis: In this stage adaptation of one of Pratchett’s best-selling novels, Commander Vimes is sent to the icy, Transylvania-like realm of Uberwald to build trade relations with the Dwarf King. But his mission soon takes a turn as he finds himself trying to prevent an inter-species war. He’s not alone, though; he’s accompanied by a talking dog, a reformed vampyre, and a self-made man—evident from the stitches that still mark his construction. What begins as an official diplomatic mission quickly deteriorates. Vimes ends up as a fugitive in the frigid woods, wearing nothing but the gloomy trousers of Uncle Vanya, and being hunted by a pack of rule-breaking fascist werewolves. Audition Date:  Sunday, 11th August 2024 Audition Time:  11:00 AM to 5:00 PM (one-hour slots) Audition Location and Address:  Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: Age Requirement: 16+ Please wear comfortable clothing that you can easily move in. Prepare a 1–2-minute monologue from a Pratchett play or in the style of Pratchett, based on your character preference. Cold reads will also be completed on the day. Auditions will be in groups with up to 10 people per slot. Audition Registration:   Register Your Interest Audition Pack:   Audition Details PDF Available Roles: Gaspode Lord Vetinari Commander Vimes Lady Sybil Captain Carrot Corporal Littlebottom Glum Sister Sergeant Detritus Willikins Sergeant Colonescue Inigo Skimmer Sergeant Angua Rhys Rhysson Albrecht Albrechtson Dee Lady Margolotta Igor Baroness Baron Chief Bandit Dwarf Guard Gavin Glum Sisters Bandits Werewolves Various Other Characters Performance Dates: Saturday, 19th October 2024 - Opening Show Friday, 25th October 2024 - 8:00 PM Show Saturday, 26th October 2024 - 7:00 PM Show Sunday, 27th October 2024 - 2:00 PM Matinee Thursday, 31st October 2024 - 8:00 PM Show Friday, 1st November 2024 - 8:00 PM Show Saturday, 2nd November 2024 - Closing Show (7:00 PM) Rehearsal Dates: Monday and Wednesday nights: 7:00 PM - 10:00 PM Sundays: 3:00 PM - 8:00 PM Technical rehearsals: Sunday, 13th October to Friday, 18th October Production Website:   www.artstheatre.com.au

Upon entering the eerie basement confines of Evilcorp Horror Maze and Bar, I was thrust into the whimsical world of “Spooky Dog and the Teenage Gang Mysteries,” presented by The Drama Merchant. This zany escapade parodies Scooby-Doo with plenty of improv and raunchy humour. The venue was transformed into a playground for this spoof, with the entire space—the stairs, the bar, cabaret tables, and even the maze itself—used as the stage. Written in 2008 by Eric Pliner and Amy Rhodes, the show follows a team of friends who solve mysteries - including leader Ted, clueless Tiffany, clever Thelma, hungry Scraggly, and their talking pooch Spooky Dog - as they investigate the disappearance of a celebrity at a creepy county fair. Directed by Nathan Schulz, this production was as delightfully unpredictable as the wheel of fate spun before the show. On the day I attended, the audience randomly chose none other than the legendary Jesus Christ himself as the kidnapped celebrity, along with a random prop and quote for the actors to incorporate; a different selection for each show. From the beginning, it was obvious that this play was anything but ordinary. The actors were provided with a script and scenario to work with - Jesus Christ being abducted by what appears to be a maze phantom - but the rest was up to their improvisational skills. This setup resulted in a whirlwind of impromptu humour and brilliant chaos. The improv aspect proved to be both a blessing and a challenge, as the actors occasionally struggled to synchronise their improvisation without talking over each other. I learned that about 70% of the performance I saw was improvised, which I find incredibly impressive; plus it makes each show one-of-a-kind. While the show was a tad lengthy and not every joke landed as intended — possibly due to the busy nature of the show — the overall experience was a riot. A real highlight was the show's self-awareness. The actors roasted the local Fortitude Valley scene, sprinkling an extra dose of meta-humour into the mix. The performers didn't shy away from breaking the performer-audience barrier; especially when a few brave souls got pulled into the act. We even found ourselves right in the middle of a wild chase scene inside the horror maze, with "Ballroom Blitz" blaring in the background as we ran away from the phantom alongside the characters.   The Characters: Spooky Dog (Mikayla Melo) : As the titular character, Melo infused the mix of cowardice and goofiness that is characteristic of this beloved and well-known canine. Her character's interactions with the audience and fellow cast members never failed to bring laughter, especially while miming an entire scene with an audience member. Thelma (Jay Louise Clark) : Clark really turned the nerdy character trope on its head. She played Thelma in a delightfully different (and canonically legit) way, dropping plenty of sexual innuendos about her crush on Tiffany. And when she got trapped in a giant cage, Clark hilariously riffed on JC (Jesus Christ) in a spontaneous comedic routine. Tiffany (Chantelle Miller) : Rocking the red hair and go-go boots, Miller perfectly portrayed Tiffany's ditzy nature, often being pulled around the stage like a rag-doll. Her martini-sipping antics and spaced-out demeanour seemed like a blast to play. Teddy (Daniel Pohlmann) : Pohlmann's consistent smoulder, self-admiring, cravat-wearing characterisation was perfection. Along with his physicality and voice that could rival Freddie Prinze Jr, Pohlmann delivered some hilarious moments that truly stood out to me. And the dance-off "foreplay" where Teddy and Tiffany channel Britney Spears and Justin Timberlake... was so out of left field and ridiculously memorable! Scraggly (Mikey Real) : Embracing the munchies-snacking, voice-cracking persona, Mikey Real transforms Scraggly into scruffy loveable idiot. With his lightning-fast improv, Scraggly became the character that captured my attention the most during the entire show, leaving me eager to hear what he would say next. Mrs Woodhaven and Fortuana (Cecile Campbell)  and Big Woody (Caleb Turner) : These extra characters brought another element of absurdity to the show, with Campbell basically pulling a Jekyll and Hyde, while Turner rocks an oversized persona that cranks up the cheekiness even more. Director Nathan Schulz deserves praise for producing such an engaging performance in a diverse performance venue with just a handful of performers. He ensures that everyone's attention is focused on the antics between the actors, allowing him to throw in some whimsical props like a giant hamburger or a spooky pumpkin head. You can tell he dedicated a lot of time and effort to make sure the group's chemistry is top-notch, enabling them to keep the banter flowing with jokes and snappy comebacks. The most memorable aspect was unquestionably the commitment shown by the entire cast in embodying their over-the-top characters. What distinguishes this parody from others is the boldness of the creators in spoofing such a widely recognised children's cartoon. With a show like this, it's crucial to leave your sour face at home and just enjoy the wild ride for what it is! In short, “Spooky Dog and the Teenage Mystery Gang” was a devilishly fearless romp that fully embraced its own nuttiness with a willingness to take risks.

Drawing inspiration from the wise words, "Don’t set yourself on fire to keep others warm," this short play offers a fictional yet deeply authentic exploration of emotions, connections, and the introspection that accompanies young love. Nestled in the heart of Fortitude Valley, Backdock Arts offers a unique theatre experience. With its forty chairs repurposed from old bus seats, the venue exudes a cozy and intimate atmosphere. Upon entering the theatre through the set resembling a quaint antique store, you'll hear the soothing tunes of acoustic music gently serenading you. This carefully curated soundscape evokes a nostalgic vibe, as if one is strolling through your fondest memories. Set Me on Fire tells the tale of Eden and Noah, former partners who unexpectedly meet again after a five-year separation. What starts as awkward small talk swiftly transforms into a whirlwind trip down memory lane. Rachel McMurray and Mannon Davies do an amazing job bringing their characters to life, even amidst the distractions of the busy main road outside. Eden's retro attire, adorned with delicate details, complements the character and the narrative's nostalgic tone. The set, adorned with items sourced from local op-shops (and the team's grandparents' homes), includes a charming retro telly that helps steer the audience through the timeline; also enhanced by lighting shifts. Rachel and Mannon’s use of the set is dynamic, manoeuvring items themselves to transition between various times and locations.   As the story unfolds, the audience is taken on a journey through the early days of Eden and Noah’s relationship. From the very beginning, their chemistry is electric that you can practically see the sparks flying! They banter, they flirt, they carefully avoid any hint of drama - typical of a new romance. The beautiful poetic script, complemented by romantic lighting and music, encapsulates the intoxicating bliss of their bond: "When you care about someone, it feels like your heart is on fire." The exploration of first love in this play is achingly relatable. Meeting at seventeen, Eden and Noah navigate the exhilarating highs and heart-wrenching lows of being each other's first romantic experiences, including the sweet intimacy and the inevitable conflicts. Their bond is tested as they confront their differing values and external pressures. The unseen figure of Noah's mother exerts a powerful influence, leading to honest, often painful discussions between the couple. Eden's challenge to assert herself and Noah's failure to defend her against his mother's disapproval serve as a poignant examination of the emotional labor often borne by one partner in a relationship. Despite her repeated attempts to communicate her feelings, Eden is often met with Noah’s confusion and helplessness. The raw vulnerability in her words, "You say you love me. So why can't I see that?" says it all about Eden's unfulfilled emotional needs and frustration. Noah’s manipulative plea, "If you loved me, you wouldn’t leave me," exposes the toxic dynamics that can arise in such charged moments. The decline of their relationship, as they continue with their usual routines but are plagued by uncomfortable silences and unspoken realities until one person finds the courage to walk away, resonates with anyone who has faced the painful end of a meaningful relationship. These themes are often a universal experience, and the actors’ genuine portrayal suggests that they, along with the playwright, have likely drawn from their own lives. Moving ahead to the current time, we discover what has become of these characters. Their polite conversation, filled with surface-level inquiries about each other’s happiness, reveals the emotional distance that has grown between them. The lingering question of “What if?” hangs heavily in the air, prompting the audience to reflect on the complexities of love, timing, and personal growth.   This debut work from Silent Sky Collective, led by the talented duo of Cale Dennis and Samara Louise, provides a nurturing platform for emerging voices in the theatre scene. Cale Dennis’s direction ensures every moment is crafted with a clear intention. The technical expertise of Tim James in design and Cullyn Beckton in stage management results in a unified and engaging performance. The playwright, Samara Louise, is a noted author of poetry, and her lyrical touch is evident throughout the script. Rachel McMurray and Mannon Davies, both pursuing their Fine Arts degrees in Acting, deliver performances that are as genuine as they are moving. Rachel, in particular, embodies Eden’s poetic spirit and emotional turmoil with remarkable depth, almost bringing this reviewer to tears as she navigates her character’s journey for validation and understanding. Mannon’s portrayal of Noah makes it difficult to dislike him despite his flaws, showcasing the complexity of his character. "Set Me on Fire" offers a poetic and heartfelt perspective on young love, personal growth, and the painful yet liberating process of moving on. Now playing at BackDock Arts in Fortitude Valley until August 2nd, 2024. Tickets available here