Title: Downtown! The Mod Musical Presented By: Footlights Theatrical Genre: Musical Synopsis: Downtown! The Mod Musical is a vibrant, high-energy jukebox musical that transports audiences back to the swinging sixties, celebrating an era of iconic fashion, freedom, and unforgettable pop music. Following the lives of five groovy women navigating love, independence, and self-discovery, the show is set to a soundtrack of chart-topping hits from legendary female artists like Petula Clark, Dusty Springfield, and Lulu. Through a series of comedic and heartfelt vignettes, Downtown! explores their journeys from wide-eyed optimism to the realities of modern womanhood—all while rocking out to the era’s biggest anthems. Featuring songs like "Son of a Preacher Man," "These Boots Are Made for Walkin’," and "Downtown," this fun, nostalgic musical is a celebration of friendship, empowerment, and the unforgettable sounds of the ‘60s. Audition Date: 7th April – 7:00-8:30 pm (Dance Call) & Individual Auditions (8:30-9:30 pm) 8th April – 7:00-9:30 pm (Individual Auditions) Audition Callbacks: 9th April, 7:00-10:00 pm (by invitation) Audition Location: Confirm with production company Audition Self-Tape Due (if applicable): Contact footlightstheatricalinfo@gmail.com to discuss video submission options if unable to attend in person. Audition Requirements: VOCAL: Prepare one musical theatre song from the 1960s (one minute each). The second song can be your own choice from the 50s/60s or a similar style. ACTING: Cold reads will be done within your individual audition. DANCE: A compulsory dance call will take place on 7th April at 7:00 pm. Please wear clothes you can move in. Audition Registration: Book your audition here: Audition Form Download the Audition Pack. Available Roles: Blue Girl (Female, 20-30) – A blue-blooded fashion model. Sophisticated, poised, and cool. She is vain and not particularly friendly. Vocal Range: G3 - F5 Yellow Girl (Female, 25-35) – A loud, uninhibited American girl driven by her emotions. A ray of sunshine with a surprising vulnerability. Possesses a big, rock diva belt. Vocal Range: F3 - E5 Orange Girl (Female, 35-45) – The "mother" of the group. Domestic and maternal, she is wise, soulful, and mature, slowly asserting her newfound independence. Vocal Range: F3 - B5 Green Girl (Female, 30-40) – A good-time girl. Blousy, middle-class, and zany. She is a bit frayed at the edges and hopelessly single. A comedian of sorts. Vocal Range: F3 - F5 Red Girl (Female, 18-25) – The "baby" of the group, she is an exciting blend of youthful contradictions. Quirky, enthusiastic, and naïve. A hopeless romantic who is insecure about her looks. Vocal Range: F3 - G5 Performance Dates: 27th - 29th June, 2025 Performance Location: PIP Theatre, Milton Rehearsal Dates: Commences: 27th April Schedule: Mondays & Wednesdays 7:00-10:00 pm, Sundays 12:00-4:00 pm (subject to changes) Compulsory Attendance Dates: 27th April (First Rehearsal) 3rd May (Photo Shoot) 8th June (Slip Rode) 24th & 25th June (Tech Rehearsals) Rehearsal Locations: PIP Theatre, Milton & Wynnum/Chermside-Based Rehearsal Studios (Exact addresses will be provided to the cast.) Production Website: Footlights Theatrical Creative Team: Helen Ekundayo - DIRECTOR & CHOREOGRAPHER Isabelle Quayle - AST. CHOREOGRAPHER Benjamin Richards - MUSICAL DIRECTOR

Title: 84 Charing Cross Road Presented By: Centenary Theatre Group Genre: Play Synopsis: Based on the book by Helene Hanff, 84 Charing Cross Road is a touching and witty true story chronicling the 20-year correspondence between New York writer Helene Hanff and London bookseller Frank Doel. Their transatlantic relationship unfolds through letters, revealing a deep friendship built on their mutual love of literature. Audition Date: Sunday 30th March 2025 Audition Time: 10:00 AM Audition Location and Address: Chelmer Community Centre, 15 Queenscroft St. Chelmer Queensland 4068. Audition Requirements: Cold reads from the script A one-minute personal monologue on your favourite book or author Available Roles: Helene Hanff (Female, 30s/40s) – New York accent Frank Doel (Male, 40s/50s) – British accent Cecily Farr (Female, 20s/30s) – British accent Megan Wells (Female, 20s/30s) – British accent (doubling with Maxine, 30s, American accent) William Humphries (Male, 20s/30s) – British accent Audition Registration: To express interest, DM Director Alison Lees or contact:P hone: 0408 581 311 (leave a message) Email: alisonlees4305@gmail.com Performance Dates: 11th July – 3rd August 2025 Performance Location: Centenary Theatre Group, Chelmer Community Centre, 15 Queenscroft St. Chelmer Queensland 4068. Production Website: Centenary Theatre Website

Title: Broadway in Love Presented By: Heartwarming Productions Genre: Musical Theatre Revue Synopsis: Following the success of Broadway Reversed, Broadway in Love is the next instalment in Heartwarming Productions' Broadway series! This entertaining production will feature iconic romantic songs from beloved Broadway shows. AUDITION DETAILS: Audition Dates: Sunday 30th March Sunday 6th April Sunday 13th April Audition Location and Address: Heartwarming Productions HQ, 366 Sandgate Road, Albion Audition Self-Tape Due (if applicable): If you are unable to attend in person, self-tapes can be submitted. Audition Requirements: Prepare two contrasting musical theatre songs that showcase your strengths and enjoyment. Bring a backing track on your phone/laptop OR email an audio file to heartwarmingproductions@gmail.com at least two days before your audition. A cappella singing is also an option. Available Roles: Seeking talented performers aged 18+ with strong vocal abilities. PERFORMANCE DETAILS: Performance Date: Saturday 21st June (full-day availability required) Performance Venue: The Empress Theatre, Arcana, Moorooka REHEARSALS: Rehearsal Dates & Times: Sundays, 11am – 3pm: 27th April 4th May 10th May (Saturday rehearsal) 18th May 25th May 1st June 8th June 15th June Rehearsal Location: Heartwarming HQ & Backbone (next to the Ron Hurley Theatre) If you have conflicts with any rehearsal dates, please advise before your audition to see if arrangements can be made. ADDITIONAL INFORMATION: This is a paid opportunity. Auditions will be held in person, with self-tapes accepted for those unable to attend. Follow @heartwarmingproductions on Instagram and Facebook for updates and to support local theatre! Audition Registration: To book an audition slot, email heartwarmingproductions@gmail.com with: Your headshot (or a recent photo) and Your CV

Title: Prime Time Broadway Presented By: Honour Productions Genre: Musical Theatre Showcase Synopsis: Prime Time Broadway 2025 celebrates the diversity of life’s relationships, exploring themes of awe, wonder, grief, confusion, and celebration through iconic musical theatre songs. This 75-minute, two-act concert features a multi-generational cast of talented Brisbane performers, accompanied by a live band led by Raymond Hernandez. Audition Date: Sunday 30 March 2025 Audition Time: 3:00 pm – 6:00 pm Audition Location and Address:Unit 3/61 Holdsworth Street, Coorparoo 4151 Audition Requirements: Vocal Audition: Present one musical theatre song of your choice that showcases your vocal range and performance ability. Have a second song prepared (may not be required). Bring a backing track on an aux cable-ready device (speaker will be provided). Dance Call: Group call at 4:30 pm (dancers only). Wear clothes you can move in, including shoes. No warm-up included in the call, so arrive early to warm up. A dance sequence will be taught on the day Audition Registration: Please complete the online registration form by 5pm on Saturday 29 March 2025. Include a headshot and your preferred session time. Audition Pack: Download Audition Pack Available Roles: Performers for solos, duets, small group work, and some younger performer opportunities (10–17 years). We're hoping to discover a multi generational cast of Brisbane artists to perform songs including - Afternoon (Alice by Heart) Climbing Uphill (The Last Five Years) Home (Beetlejuice) I Could Be That Guy (Sister Act) I Know Where I've Been (Hairspray) I Love Betsy (Honeymoon in Vegas) I Love You Like a Table (Waitress) Larger Than Life (My Favourite Year) Michael in the Bathroom (Be More Chill) Nothing Short of Wonderful (Dogfight) People (Funny Girl) Red Ryder Carbine Action BB Gun (A Christmas Story) Six Hours as a Princess (Letters to God) Some Things Are Meant to Be (Little Women) Someone to Fall Back On (Wearing Someone Else's Clothes) Stupid With Love (Mean Girls) What Does She Mean by Love (Daddy Long Legs) What It Means to be a Friend (13 The Musical) What You'd Call a Dream (Diamonds) Performance Dates: Friday, 13 June 2025 (7:30 pm) Saturday, 14 June 2025 (2:00 pm, 7:30 pm) Sunday, 15 June 2025 (6:00 pm) Performance Location: Unit 3/61 Holdsworth Street, Coorparoo 4151 Rehearsal Dates: Rehearsals begin Sunday 22 April and run through to 12 June 2025. Specific rehearsal days are: Sundays, 2 pm – 5 pm Tuesdays, 7 pm – 10 pm Thursdays, 7 pm – 10 pm Tech Week: Sitzprobe: Sunday, 8 June 2025 (2 pm – 6 pm) Technical Rehearsal: Tuesday, 10 June 2025 (7 pm – 10 pm) Dress Rehearsal: Thursday, 12 June 2025 (7 pm – 10 pm) Recommended Age: The performance is open to performers of all ages, with some specific roles for younger performers (10–17 years). Creative Team: Director: Sherryl-Lee Secomb Band Director/Arranger: Raymond Hernandez Choreographer: Jordana Johnstone Vocal Director: Geoff Secomb Sound & Lighting Design: Andrew McNelley Production Website: Honour Productions Other Information: This is an unpaid community performance opportunity. This is a community performance with a focus on diverse, multi-generational artists.

Jane Austen's Pride & Prejudice Presented by: Queensland Theatre Company Venue: Playhouse, QPAC Adapted by: Wendy Mocke and Lewis Treston Directors: Bridget Boyle and Daniel Evans Designer: Christina Smith Composer and Sound Designer: Guy Webster Lighting Designer: Jason Glenwright Choreographer: Nerida Matthaei Production Photography: Morgan Roberts If ever there were a production designed to steal my heart, it was this one. Queensland Theatre Company’s Pride & Prejudice took Austen’s familiar story and gave it a playful theatrical makeover. It embraced the romance (and absurdity) of Regency society without treating the original text like an untouchable museum piece. In Pride and Prejudice, the fiercely independent Elizabeth Bennet navigates love, family expectations and nineteenth-century social politics in a world where marriage can determine a woman’s entire future. When she meets the enigmatic (and maddeningly aloof) Mr Darcy, sparks fly... but not necessarily in a good way. Misunderstandings, meddling relatives and more than a few scandals stand between them, forcing both to confront their own pride and prejudices. Will they see past their first impressions, or are they doomed to become each other’s greatest regret? The moment the overture began, I recognised it instantly: Duomo’s version of Taylor Swift’s Wildest Dreams (yes, the one you know from Bridgerton). From that first note, the production established its intentions. This adaptation would honour Austen’s story while happily raiding the twenty-first century for music and movement. At first glance, the stage seemed deceptively simple: a bare wooden floor that gave the actors complete freedom to move. But beneath that simplicity lay a cleverly designed world by Christina Smith. A multi-level structure stood at the back, its three concealed doors subtly adorned with a large map of England. More than just entry and exit points, these doors felt symbolic, hinting at the different paths and choices the characters might take. Framing it all was lush greenery, evoking the beauty of the English countryside. Every design choice felt intentional, striking a balance between historical authenticity and contemporary flair, creating a visual link between past and present. Intricate scale models of Longbourn, Netherfield, Rosings and Pemberley transformed the setting between scenes. Even the changing seasons were marked in unexpected and creative ways. Jason Glenwright’s lighting design gave each location its own atmosphere and became especially impressive during the larger ballroom sequences and the eventual reveal of Pemberley, as seen in Morgan Roberts’ photographs. Period-appropriate costuming also captured the era’s aesthetic and subtly reinforced the characters’ social standings and personalities. The Bennet family’s attire was simple and understated, a quiet nod to their modest means. Elizabeth stood out in her flattering baby-blue dress, while Jane exuded grace in coral red. In contrast, the Bingleys were draped in richly detailed fabrics, their opulent wardrobe a clear reflection of their higher social status. The show fully embraced an anachronistic blend of period and modern aesthetics, especially in its dance sequences. Think classical spins on pop hits: Florence + The Machine’s Dog Days Are Over and Billie Eilish’s Bad Guy underscoring ballroom moments. And then came the boldest choice of all: a ballroom scene set to Rihanna’s S&M, complete with a glitter curtain and disco lights. It was unexpected, audacious and ridiculously fun! This playful collision of past and present didn’t just serve as a stylistic flourish. It actively reshaped the way the audience experienced the story. Hearing The Pussycat Dolls’ When I Grow Up underscore Lydia and Wickham’s storyline? Genius. The choreography by Nerida Matthaei embraced the Regency-rave aesthetic with full commitment. Every dance number crackled with the flirtatious spirit of a social season in full swing, with elegant Regency steps colliding with uninhibited club-style movements. This fusion of styles reinforced the show’s irreverent approach to Austen’s themes, challenging traditional notions of social interaction, courtship and societal expectations. The production never settled into predictability. Instead, it thrived on spectacle that kept audiences guessing at every turn. The performances were just as vibrant as the production itself. Madison Burridge was an absolute joy to behold as Elizabeth Bennet. She captured her spirited nature, intelligence, quick wit and unshakable confidence. A true leading lady, Burridge made Elizabeth feel refreshingly modern without losing her Regency charm. Burridge’s comic reactions were often as entertaining as the dialogue, landing every quip and retort with precision, especially in those delicious moments when Elizabeth cut through the societal nonsense with a single, perfectly placed remark. Plus, her exaggerated mimicry of Mr Darcy was particularly adorable. When it came to Mr Darcy, Andrew Hearle arrived with the necessary reserve and aristocratic stiffness (truly the tall, dark and handsome archetype). His chemistry with Burridge crackled with intrigue, their exchanges layered with disdain, attraction and misunderstanding. Every sidelong glance and barbed remark was brimming with subtext. The slow burn of their dynamic kept the audience hanging on every word and every charged silence. Hearle’s physicality was quintessentially Darcy. His rigid posture, carefully measured movements and reluctance to display emotion made Darcy radiate aristocratic detachment, as though he had been trained from birth never to look comfortable in public. But beyond the exterior, his delivery was meticulously crafted, channeling just enough Colin Firth to make me question whether he might actually be British. He leaned into Darcy’s aloofness with an almost comically rigid stiffness, making his eventual thaw from emotionally stifled gentleman to someone capable of warmth and sincerity all the more satisfying. And then there was Jeremiah Wray as Wickham. He oozed charm with just the right amount of duplicity. His interplay with Burridge carried an enticing sense of risk, with every smile concealing information Elizabeth had not yet learned. They did not just flirt. They danced around one another, every interaction laced with an undercurrent of danger. Cameron Hurry’s Mr Collins was the kind of character you love to loathe: utterly insufferable yet impossible to ignore. Every carefully crafted acting choice made your skin crawl, from his awkward social interactions to his delusions of grandeur and exaggerated self-importance. He fully embraced the character’s eccentricities, creating moments that were cringeworthy and uproariously funny. And then there was that voice. A bizarrely nasal affectation so distinct and jarring that I’m convinced if I tried to mimic it, I’d be forever trapped in its strange cadence. It was a voice that seemed to echo with an insistent need for validation, perpetually seeking approval from those around him while simultaneously repelling them with his incessant prattle. It was Hurry’s sheer commitment to the role that elevated him to a comedic highlight of the performance. Amy Ingram was a revelation as both Charlotte Lucas and Caroline Bingley, brilliantly switching between the two very different characters. She brought a wonderfully pompous air to Miss Bingley, playing her with sharp snobbery, and then switched gears to portray Charlotte’s more grounded, down-on-her-luck nature with subtlety and heart. William Carseldine’s portrayal of Mr Bingley was full of charm. He played the bashful, adorably awkward gentleman with such sincerity, especially in his swooning over Jane, and honestly, it made me wish real-life men would be so unabashedly smitten. The Bennet family dynamic was a riot, with each member bringing their own brand of chaos. Gael Ballantyne’s portrayal of Mrs Bennet was gloriously dramatic, capturing the frantic urgency of a mother obsessed with marrying off her daughters. Her scheming and shrill outbursts never failed to get laughs, especially when paired with her cartoonish strut, an exaggerated walk that perfectly encapsulated her desperate personality. As Mr Bennet, Bryan Probets was the perfect foil to his wife’s frantic energy. His dry wit and nonchalant attitude subtly stole scenes as his sarcastic delivery punctuated the chaos around him. The father-daughter dynamic with Elizabeth felt natural and endearing, and his appearances in the ballroom scenes, where he danced like nobody was watching, were an unexpected but side-splitting highlight. Perry Mooney’s Jane Bennet was the epitome of calm elegance, offering a clear contrast to Elizabeth’s sharper temperament. Mooney’s performance was particularly notable for its subtlety. She conveyed Jane’s lovesickness over Mr Bingley with such depth that you could feel every ounce of hope and heartbreak as if they were your own. In stark contrast, Courtney Cavallaro and Daphne Chen brought Lydia and Kitty Bennet to life with chaotic energy that was utterly entertaining. The duo’s performances were a whirlwind of youthful frivolity. Their scenes buzzed with raucous energy, aligning perfectly with the script’s intention to depict the two youngest Bennet sisters as exuberant and somewhat reckless. Cavallaro’s portrayal of Lydia, in particular, stood out. Her grating voice and childlike antics painted Lydia as a girl lost in the throes of make-believe, desperately pursuing attention and validation. Chenoa Deemal turned Mary Bennet into an unexpected scene-stealer. Rather than allowing Mary to disappear behind a book, Deemal gave her a cynical, observant intelligence that recalled an Austen-era Eloise Bridgerton. She watched her family’s behaviour with the expression of someone already preparing the essay she would later write about them. The five Bennet sisters formed a convincing spectrum of womanhood, each responding differently to the expectations placed upon them. Directed by Daniel Evans and Bridget Boyle, the production’s pacing was expertly balanced, with Act Two’s shift from comedy to drama hitting all the right emotional beats. But it was Lizzy’s monologue on womanhood that truly stood out to me. It was a powerful reminder of why Austen’s work remains so relevant today. Her words echoed with the struggles and triumphs of women, highlighting issues of agency and societal expectations that remain pertinent across generations. The depth of Burridge’s performance brought the audience into a hushed silence, allowing the weight of these insights to settle deeply into every heart in the room. And then, there was the breathtaking Pemberley reveal. The scene unfolded with enchanting theatrical magic. Cascading petals floated gracefully down and twinkling lights created an ethereal atmosphere as the strings swelled. It was a moment that took your breath away, symbolising the hope and possibilities that awaited our leading lady. By the final scenes, I found myself kicking my feet and giggling girlishly. For a few hours, I was completely transported into this world, absorbed in the intricacies of the characters’ lives, and I never wanted to leave. The production invited its audience to become caught up in the laughter, tears and messy complications of human connection. With its final weekend at QPAC cut short by Cyclone Alfred (the fiend!), I was lucky to catch the relaxed performance, although ‘relaxing’ is not quite the word I would use. The house lights remained dimly illuminated and the sound levels had reportedly been reduced, yet from the back of the stalls I still found the environment claustrophobic and overstimulating. A persistent cougher beside me prompted several audience members to relocate. At interval, I seized the opportunity to move to the front row of the balcony, which proved an excellent decision and gave me a stunning view of the second act. The midweek matinee was packed with excitable school groups and retirees, resulting in a noisy but enthusiastic audience. This QTC production was a triumph of clever adaptation, stunning visuals and stellar performances. It honoured the wit and charm of Austen’s original while injecting an audacious theatricality that made it feel thrillingly alive. And it served as a pointed reminder that Pride & Prejudice has been setting unrealistic expectations for romance since 1813.

Title: Come From Away Presented By: Ipswich Musical Theatre Company Genre: Musical Theatre Synopsis: Come From Away tells the true story of when seven thousand people from across America and around the world landed unexpectedly in the small town of Gander, Newfoundland, on September 11th, 2001. As the world witnessed acts of terror, the people of Gander opened their hearts, offering food, shelter, and compassion, restoring faith in humanity. Audition Details: Audition Times: Sunday 4th May 2025 10am - 6pm Monday 5th May 2025 6pm - 10pm Audition Location and Address: The Old Courthouse, Cnr. Roderick & Ginn St, Ipswich Call-backs (if required): Sunday 18th May 2025 Audition Requirements: To secure your audition, complete the online registration form by 30th April 2025. Prepare a song in the style of the show that best showcases your vocal ability. Be prepared to participate in a movement audition. Readings may be required for specific roles. INDIVIDUAL VOCAL/ACTING CALL 5 to 10-minute Please prepare TWO CONTRASTING SONGS (approximately 60 second cuts) in the style of the show - Folk, Celtic, Contemporary-Rock, Pop, Broadway-Rock. Songs are NOT to be from Come From Away. Songs will be performed with Backing track. You can provide your backing track file by email prior to your audition, or provide on USB on your audition day. Please provide a CV with headshot. The headshot is for identification purposes only and will not be returned. PLEASE NOTE - NO ACCOMPANIST WILL BE PROVIDED - you may self accompany if you are a singer/musician. Please familiarise yourself with Newfoundland (HIGH PRIORITY), General American and RP British Accents. CALLBACKS - Movement Call All performers who secure a callback are required to participate in a group movement call led by our choreographer. Please wear suitable clothing and shoes CALLBACKS - Group Vocal Workshop Callbacks will continue with a vocal workshop testing ability to quickly learn parts, harmonise, blend and take vocal direction etc. CALLBACKS - Solo Vocal / Scene-Work This session will conclude with scene-work and presentation of specific solo vocal material. The creative team will be seeing role-specific material (provided following first round auditions) and workshopping with performers. Audition Registration: Register Here Audition Pack: Download Here Scheduling Rehearsal Dates: From 8th June 2025 with dress rehearsals from Monday 1st September Rehearsal Times: Mondays 7 - 10pm Thursdays 7 - 10pm Sundays 1 - 5pm Rehearsal Venues: Please note that rehearsals will take place between The Old Courthouse (Ipswich) and Davidia Lind Dance Centre (Mansfield). Performance Dates: 13th - 21st September 2025. Additional performances between 13 - 21 September may go on sale to meet demands. Performance Location: Ipswich Civic Centre, 50 Nicholas Street, Ipswich QLD 4305 Creative Team: Director: Thomas Armstrong-Robley Musical Director: Matt Rofe Choreographer: Simon Lind Production Website: Ipswich Musical Theatre Company Other Information: This is an amateur production. No roles are paid. If you are offered a role, there is a $35 annual membership fee. Successful auditionees will be contacted by phone and email. Unsuccessful auditionees will be contacted by email. Available Roles: Diane (Female Identifying | Stage age 50s-60s | All Ethnicities) A traditional divorcee from Texas who discovers a wilder side of herself. Vocal Range: Warm, natural contemporary Soprano with strong mix up to D5. Secondary Roles: Crystal, Brenda Hannah (Female Identifying | Stage age 40s-60s | All Ethnicities) The mother of a Manhattan firefighter, waiting for news of her son. Vocal Range: Contemporary Soprano with strong pop belt and mix up to E5. Secondary Roles: Margie, Mickey BIPOC artists are strongly encouraged to apply Janice (Female Identifying | Stage age 20s | All Ethnicities) A new TV reporter covering the events of 9/11. Vocal Range: Contemporary Soprano with strong pop belt and mix up to E5. Secondary Roles: Britney, Flight Attendant Beulah (Female Identifying | Stage age 40s-60s | All Ethnicities) Head of the Gander Legion, who comforts Hannah. Vocal Range: Mezzo with belt up to B4. Secondary Roles: Delores Beverley (Female Identifying | Stage age 40s-50s | All Ethnicities) The first female American Airlines captain. Vocal Range: Strong mezzo with an easy mixed or belted C#. Secondary Roles: Annette, Reporter Kevin T (Male Identifying | Stage age 30s-40s | All Ethnicities) Head of an environmental energy company, inspired by Gander’s kindness. Vocal Range: Strong contemporary Tenor up to G4. Secondary Roles: Garth, President Bush Kevin J (Male Identifying | Stage age 30s-40s | Middle Eastern, Asian, Latino, or African American) Kevin T’s boyfriend and secretary, sarcastic and reluctant. Vocal Range: Tenor or Baritone. Secondary Roles: Ali, Dwight We encourage anyone who identifies as Muslim or can speak Arabic to audition for this role. Oz (Male Identifying | Stage age 30s-50s | All Ethnicities) The quirky constable in the Gander police force. Vocal Range: Strong contemporary Tenor up to G4. Secondary Roles: Joey, Customs Officer, Mr. Michaels, Terry, Matty, Rabbi, Head Cardiologist We encourage anyone who identifies as Jewish or can speak Hebrew to audition for this role. Bonnie (Female Identifying | Stage age 30s-40s | All Ethnicities) Head of the Gander area SPCA, passionate about saving stranded animals. Vocal Range: Mezzo with belt up to B4. Secondary Roles: Martha Bob (Male Identifying | Stage age 20’s – 40s | African American) A hardened New Yorker, Bob is suspicious of where he’s landed. Vocal Range: Baritone Secondary Roles: Muhumuza, Captain Bristol Nick (Male Identifying | Stage age 50’s – 60s | All Ethnicities) An English oil engineer who is focused on his work, Nick’s life is turned upside down when he falls for Diane. Vocal Range: Warm, natural Baritone or Baritenor with an easy E4 and strong pop sensibility. Secondary Roles: Doug, Officer Stephenson, Male townsperson Claude (Male Identifying | Stage age 40’s – 60s | All Ethnicities) The gregarious and well-liked Mayor of Gander, Newfoundland, Claude loves his work, the townspeople and his daily traditions. Vocal Range: Gruff, natural sounding Baritone with a strong High G4 Secondary Roles: Derm, Brenda’s Brother, Eddie Note: This is an ensemble-heavy production with actors playing multiple roles.

Title: The Servant of Two Masters Presented By: Growl Theatre Genre: Comedy, Commedia dell'arte Synopsis: Truffaldino, a wily servant, has found a way to double his income – work two jobs for two masters at the same time. What could possibly go wrong? Hang on. His first master is actually a woman disguised as a man (who’s dead) come to find her lover (who killed her brother), but now finds herself accidentally betrothed to a girl (who’s engaged to someone else). His second master is a man (actually a man) who is in love with his first master (who’s really a woman whose brother he actually killed). Nah. What could go wrong? Audition Date: Wednesday 12th March 2025 Audition Time: 6:30pm to 9:00pm Audition Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor Audition Requirements: Combination of prepared piece and cold read: auditionees should familiarise themselves with the provided prepared pieces but also be ready to do a cold read. Email a headshot and acting CV to the Directors at production@growltheatre.org.au. Membership fees: If cast, actors must become a 2025 financial member of Growl Theatre ($30 per calendar year, expiring December 2025). Audition Registration: Register here Audition Pack: Available here Available Roles: Truffaldino (Male, 20s to 40s): Servant of Beatrice (disguised as Signor Frederigo Rasponi). A lovable scoundrel, always out for a buck and some food. Must have strong comedic timing. 'Ocker' accent is welcome. Pantalona (Female, 50s to 60s): Mother of Clarice, a gender-swapped version of Pantalone. A wealthy, greedy merchant at the top of the social order. Clarice (Female, 20s): Daughter of Pantalona, a romantic lead betrothed to Silvio but formerly engaged to the now-deceased Signor Frederigo Rasponi. Silvio (Male, 20s): Handsome young son of Dottore; newly betrothed to Clarice. Dottore (Male, 50s to 60s): Father of Silvio; pompous, egotistical, and frequently breaks into Latin. Smeraldina (Female): This role has been precast. Beatrice (Female, 20s to 30s): Loving sister of Signor Frederigo Rasponi; disguised as her deceased brother while searching for her lover, Florindo. Feisty. Florindo (Male, 20s to 30s): Lover of Beatrice; honourable and upright. Brighella (Any gender, 40s to 60s): Local innkeeper. Waiter/Porter (Any gender, any age): Minor roles, possibly doubled. No preparation required; auditionees will be given a piece to perform on the night. Performance Dates: 14th - 28th June 2025 Performance Location: Windsor School of Arts, 381 Lutwyche Rd, Windsor Rehearsal Dates: Starting Sunday 30th March 2025 Rehearsal Times: Sundays: 1:30 pm - 4:30 pm Mondays & Thursdays: 6:30 pm - 9:30 pm Creative Team: Directors: Rebecca McMahon, Gemma Keliher Stage Manager: Tom Glassock Set Designer: Jason Sharland Production Website: Growl Theatre - The Servant of Two Masters Other Information: This production embraces Commedia dell'arte techniques, including exaggerated physical comedy, masks, and improvisation. Actors should be prepared for a physically demanding performance. Previous experience with comedy or physical theatre is a bonus but not required.

Title: The Secret Garden Presented By: Passion Productions Genre: Musical Theatre Synopsis: After the death of her parents in India, 10-year-old Mary Lennox is sent to live with her reclusive uncle, Archibald Craven, at the sombre Misselthwaite Manor. There, she uncovers a locked, neglected garden tied to the memory of her late aunt, Lily. With the help of some of the manor’s residents, Mary brings the garden back to life. As the garden blossoms, so do the spirits of the Craven family, healing old traumas and re-acquainting the household with love and hope. Featuring a hauntingly beautiful score and a story filled with resilience and renewal, The Secret Garden is an enchanting tale of how even the most broken hearts can grow and flourish again. Audition Details: Audition Date: Saturday, 5th April 2025 Audition Time: 10:00AM - 5:00PM Group auditions, each slot running for 50 minutes Audition Location and Address: QUT Kelvin Grove - Z Block Callbacks: Sunday, 6 April 2025 at QUT from 1:00 pm. Auditionees will be provided material from the show to prepare. Audition Requirements: Prepare 30 seconds of two songs in the style of the show, demonstrating contrast (e.g., one emotional, one upbeat). Auditionees may also be required to participate in cold reads and/or a simple dance audition. Upload your headshot, performance CV, and unavailabilities Audition Registration: Register Here Audition Pack: View Here Available Roles: Performers of all gender expressions, sexual identities, cultural backgrounds, ages, and abilities are encouraged to audition. Descriptions below are playing ages only; actors may apply for any role. Mary Lennox (10-14, Young Voice Ab3 - D5) - Recently orphaned, stubborn, curious, grieving, yet mischievous. Colin Craven (10-14, Young Voice A3 - E5) - Mary’s cousin, bedridden due to a heart condition, angry but kind-hearted. Martha (18-30, Mezzo w/ Belt F3 - D5) - A Yorkshire maid, no-nonsense and wise beyond her years. Dickon (16-30, Tenor C3 - G4) - Martha’s younger brother, caretaker of the manor’s plants and animals, spunky and optimistic. Archibald Craven (30-50, Baritone C3 - A4) - Mary’s uncle, lord of Misselthwaite Manor, deeply grieving his late wife, Lily. Dr. Neville Craven (25-45, Baritone C3 - F#4) - Archibald's brother, a doctor caring for Colin, embittered by unrequited love. Lily (25-40, Soprano Bb3 - D6) - Archibald’s late wife, a comforting and compassionate spirit. Ben Weatherstaff (35-75, Baritone E3 - D#4) - The head gardener, gruff but kind-hearted. Mrs. Medlock (30-60) - The housekeeper, stern but fair. Mrs. Winthrop (25-55) - A private school headmistress, strict and authoritative. Rose Lennox (25-35, Soprano A3 - D6) - Mary’s mother, outspoken and opinionated. Captain Albert Lennox (28-40, Tenor D3 - A5) - Mary’s father, deeply loving and protective. Children's Roles: Principal children’s roles may be double-cast and will also perform in the ensemble. Scheduling: Rehearsal Dates: Commencing Tuesday, 8 April 2025 at QUT Kelvin Grove - Z Block Rehearsal Times: Tuesdays & Thursdays: 6:00 pm - 10:00 pm Sundays: 1:00 pm - 5:00 pm (Children may leave evening rehearsals early with prior discussion) Rehearsal Schedule: View Here Performance Dates: Saturdays and Sundays, 12 July - 27 July 2025 (potential extension TBC) Performance Location: Toombul Shire Hall, 1141 Sandgate Rd, Nundah Recommended Age: All ages welcome Production Website: Passion Productions Auditions Other Information: Successful auditionees will be contacted within a few days after callbacks. Not receiving a callback does not mean a role will not be offered. This is a community theatre production. No payment will be made to actors, but there are also no production fees. Membership to Passion Productions is optional. Cast members are expected to actively promote the show on social media at least once a week (official posts or behind-the-scenes content).

Title: Romeo and Juliet Presented By: ACU Brisbane Arts and Humanities Society Genre: Classical Theatre Synopsis: One of Shakespeare’s most iconic tragedies, Romeo and Juliet tells the story of two young lovers from feuding families in Verona. Their passionate romance defies the expectations of their warring households, but fate has a cruel plan in store. A tale of love, rivalry, and destiny, Romeo and Juliet explores the timeless themes of passion, loyalty, and the consequences of hate. AUDITION DETAILS: Audition Date: Friday, March 14th, 2025 Audition Time: 3:30 pm – 6:00 pm Audition Location and Address: ACU Brisbane, 1100 Nudgee Rd, Banyo – Room 209.1.15 Audition Self-Tape Due: Online submissions accepted Audition Requirements: All auditionees (both in-person and online) must prepare: A headshot An acting resume Two (2) x 30-second monologues in a Shakespearean style Audition Registration: Audition Form Available Roles: Romeo Juliet Mercutio Tybalt Benvolio Nurse Friar Laurence Lord and Lady Capulet Lord and Lady Montague Paris Prince Escalus Various ensemble roles (servants, townspeople, etc.) Performance Date: August 6th, 2025 Performance Location: ACU Brisbane, 1100 Nudgee Rd, Banyo Rehearsal Details: (To be confirmed upon casting) Warnings: Contains themes of violence, death, and mature content

Title: Charming Charlie and the Spectacular Sophia Presented By: Outdoor Theatre Community Genre: Play Synopsis: When Charlie gets teased one too many times, he and his new best friend Sophia come up with a master plan - but there is a major stumbling block! Mr Dodds, the Principal of Warm Gully State School, is getting ready to retire. He doesn't want anyone or anything to get in his way. He knows that Sophia and Charlie are up to something, but what? Can Charlie and Sophia convince Mr Dodds that their plan will put Warm Gully State School in the spotlight? And can they persuade their two favourite teachers to come on the journey with them? Join Charlie and Sophia as they discover that amazing things happen when you've got a best friend. Audition Date: Saturday, 3rd May 2025 Audition Time: 2:00 pm Audition Location and Address: Dragonfly Park, Warner Audition Registration: Register Here Performance Dates: 22nd August – 7:30 pm 23rd August – 7:30 pm 24th August – 6:30 pm 29th August – 7:30 pm 30th August – 7:30 pm 31st August – 6:30 pm Performance Location: Dragonfly Park, Warner Rehearsal Dates: Sundays Rehearsal Times: 9:00 am – 12:00 pm Warnings: Themes of bullying. Recommended Age: Suitable for all ages. Other Information: OTC will be partnering with local charity Broken to Brilliant TM, sharing show profits to support their work in the Family and Domestic Violence space. This production marks the world premiere of the play adaptation by David Searston, based on Fiona Ware’s anti-bullying book. Available Junior Roles: Charlie (10 years, British) – A kind, polite, charming, respectful, gentle, wise ballet dancer who believes in equality, even for bullies. Blond hair, blue eyes, wears a vest, bow tie, and suspenders. Sophia (10 years, Australian/Greek) – Passionate about social justice, outspoken, loves food and dressing up. Brown hair, freckles, stripy socks, and fur jackets. Matty (10 years, Australian) – The school bully, tough with a solid build and secretly likes Sophia. Crew cut, wears his cap backwards. Pauly – (10 years, Indigenous) Charlie and Sophia's friend. Friendly, jokester, athletic, carefree. Has curly black hair and loves to run. Sam – (10 years) Quiet, bullied for her size, great at maths, computers, and music. Grace – (10 years) Shy, anxious, artistic, always drawing to keep calm. Messy hair, small stature. Jelani (10 years, African) – Twin boy. Energetic, athletic, bit boastful. Short hair, shaved close to head. Abena (10 years, African) – Twin girl. Gentle, sweet, kind, loves music, singing, and dancing. Black curly pig tails. Available Adult Roles: Mrs Palmer – Warm Gully SS's main teacher. Holistic, kind but firm, funny, flamboyant, red-haired, wears glasses. Mr Leon – A young, fit, new teacher with a farming background. Plays guitar, sings, values respect, honesty, sets clear boundaries and rewards good behaviour. Mr Dodds – (British) The principal, near retirement. Rotund, wears bright shirts, marches around like he's still in a band, once a drummer. Appears gruff, has a combover. Miss Bellbird – School secretary, sharp and efficient, looks like a 1940s film star with rolled hair, frilly blouses, pencil skirt, high heels and glasses. Prim, firm, and kind. Miss Williams – New, uptight teacher with a master’s degree. Disapproves of Mrs Palmer’s methods. Wears cardigans, long skirts, bob hairdo, and boots. Marcus – (British) Charlie’s father. Musician with long black ponytail. Wears suit and vest, but more untidy than Charlie. Very intelligent Eloise – (British) Charlie's mother. Dedicated to her family, wise, kind, patient. Long blonde hair, very dainty, wears pretty dresses. Robert – (Australian) Sophia’s Aussie dad. Wears sporty clothes. Heart of gold, persuasive nature. Alexis – (Greek) Sophia's Greek mum. Feisty, straightforward. Mr & Mrs Camara – (African) Mr Camara plays the djembe and is strong and dressed well. Mrs Camara is voluptuous, wears colourful clothing, friendly and joyful.

Title: Smoke & Mirrors Presented By: Brisbane Anywhere Festival Genre: Drama Synopsis: Smoke & Mirrors is an evocative and thought-provoking theatrical exploration of femininity, power, and the complexities of the stripping industry. Set in the dimly lit world of Azure Allure, the play takes audiences deep into the lives of its workers, each of whom navigates the fine line between fantasy and reality in a world driven by performance, desire, and survival. Through themes of choice, sacrifice, and self-worth, Smoke & Mirrors invites the audience to witness the intricate performances of both the women on stage and the masks they wear in their personal lives. At its core, the play is a commentary on the ways in which society commodifies the female form, the bonds that are both forged and broken in the process, and the price one must pay for living within a world of illusions. Written By: JJ Jones & Lily Shaw Audition Date: 14th & 15th March Audition Time: 4:00 PM – 7:00 PM Audition Location and Address: QUT Kelvin Grove Audition Requirements: Prepare a 2-minute contemporary comedic or dramatic monologue of your choice. If you have a dance background, you are encouraged to showcase your skills (a speaker will be provided for backing tracks). You will be given an excerpt from the script for a cold read. Audition Registration: Register Here (Apply by 13th March) Audition Pack: Download Here Available Roles: LONDON – The Starlet with Cracks in the Spotlight Stage Age: Late 20s – Early 30s Senior Stripper at Azure Allure. Seductive, powerful, and captivating on stage; offstage, she battles addiction, grief, and self-destruction. She is sharp, cynical, and terrified of being forgotten. BUNNY – The Dreamer Who Doesn’t Know She’s in a Nightmare Stage Age: 18-20 New Stripper at Azure Allure. Bright, bubbly, and naive, she views the club as glamorous and empowering. She seeks validation and is intoxicated by attention, slowly realising the cracks in the fantasy. LENNY – The Good-Hearted Bystander Who Can’t Look Away Stage Age: Early 20s Apprentice Carpenter, on the sidelines of the club scene. Kind, observant, and a little naive. He doesn’t belong in the club world but gets dragged into it. Protective, but ultimately powerless. RICO – The Owner of Azure Allure Calculating and pragmatic, he runs the club as a business, prioritising profit over emotion. Charismatic when needed, ruthless when necessary. Performance Dates: TBA Performance Location: Brisbane Anywhere Festival Rehearsal Dates: TBA Warnings: This production contains themes of abuse, violence, addiction, trauma, sex, sexual assault, grief and loss, depression, anxiety, and PTSD. Applicants must be 18 years or older. Performers must be comfortable with partial nudity, intimacy, and explicit language. Crew Applications: This production is also seeking crew members (Production, Technical, and Support Team). Interested applicants can indicate their preference in the audition registration form.

Title: Heathers the Musical Presented By: QUT Musical Theatre Society Genre: Musical Theatre Synopsis: Heathers the Musical is a dark comedy based on the 1989 cult classic film Heathers. It follows Veronica Sawyer, a high school outcast who gets caught up with the popular yet cruel Heathers clique. When her new boyfriend, J.D., has a deadly solution to dealing with the high school hierarchy, Veronica must decide where her loyalties lie before things spiral out of control. Audition Details: Audition Date: Saturday, 15th March 2025 Audition Time: 10:00 am – 12:00 pm Audition Location and Address: [Confirm with organisers] Audition Pack: Available here Audition Requirements: Vocal Audition: Perform 1 to 1.5 minutes of a song of your choice. Choose a song that best demonstrates your vocal range, acting ability, and stage presence. All auditionees must send their instrumental audition track via WeTransfer to qutmtsociety@gmail.com by 10:00 pm, 13th March 2025. The free option allows up to 10 transfers per month. Dance Audition: You will be taught a short choreography and then perform it in groups. If you have mobility differences or other accessibility needs, please inform the team in advance for modifications. Bring dance-appropriate shoes (soft jazz/ballet flats optional, socks are acceptable) Bring printed performance résumé (or full portfolio if unsure, including vocal range and experience) Wear dance-appropriate clothing, tied-back hair, no jewellery. Audition Process: Check-in at 10:00 am sharp. A brief introduction to the audition panel will be given. Auditionees will be split into two groups. Solo singing auditions (individual performances for the panel). Dance audition (learn and perform choreography in small groups). Groups switch. Callbacks: Callbacks will take place in the following days. The final cast list will be announced within two weeks. Cast Requirements: Cast members must purchase a performance membership through the QUT Musical Theatre Society rubric page. Upon being cast, you must sign a contract confirming your commitment to all rehearsals and performances. Costumes will be self-funded (details provided in the contract). Missing rehearsals must be pre-approved, and excessive absences may result in removal from the show. Performance Dates: November 19th, 20th, 24th, 26th, 2025 Rehearsal Dates & Times: Weekly rehearsals (exact schedule TBC – will be provided at auditions). Backstage Roles: The team is looking for technical production crew including: Lighting & Sound Technicians Set Designers & Builders Hair & Makeup Artists Costume Designers If interested, email qutmtsociety@gmail.com to arrange an interview. You may also audition for a performance role. Character Breakdown Veronica Sawyer (Stage Age: 17) – Mezzo-Soprano. Intelligent, sarcastic, and ambitious, she longs to be both popular and kind but struggles to find the balance. She falls for JD, leading to dangerous consequences. JD (Jason Dean) (Stage Age: 17) – Tenor. Mysterious, brooding, and charismatic with a dark and troubled past. Heather Chandler (Stage Age: 17) – Mezzo-Soprano. The ruthless, confident, and cruel leader of the Heathers. Heather McNamara (Stage Age: 17) – Soprano. Bubbly and ditzy head cheerleader but deeply insecure; follows Heather Chandler out of fear rather than loyalty. Heather Duke (Stage Age: 17) – Alto. The underdog of the Heathers, she is bullied by Chandler but but becomes power-hungry when given the chance. Martha Dunnstock (Stage Age: 17) – Mezzo-Soprano. Sweet, optimistic, and kind-hearted. Veronica’s childhood best friend, often bullied and cruelly nicknamed “Martha Dumptruck. Ram Sweeney (Stage Age: 17) – Baritone. A stereotypical jock; insensitive, crude, and ruled by his impulses. Kurt Kelly (Stage Age: 17) – Tenor. The cocky quarterback. Loud, rude, and entitled, he plays a major role in Veronica’s descent into darkness. Featured & Ensemble Characters Ram’s Dad / Big Bud Dean / Coach Ripper (40-50) Ram’s Dad: A former football player clinging to his high school glory days. Hyper-masculine and resistant to change. Big Bud Dean: JD’s father, whose outward joviality masks deep anger. He has a suspicious past and a possible history of violence. Coach Ripper: A classic “man’s man” who fiercely defends his players. Vocal Range: Baritone/Tenor, Country/Gospel belt Ms. Fleming / Veronica’s Mom (40-50) Ms. Fleming: A free-spirited former hippie teacher who still believes she can change the world. Loves attention. Veronica’s Mom: Warm but distant, with a firm hand when needed. Vocal Range: Soprano Kurt’s Dad / Veronica’s Dad / Principal Gowan (40-50) Kurt’s Dad: Loud, brash, and intolerant, but experiences a moment of transformation. Veronica’s Dad: Loving but largely uninvolved. Principal Gowan: Bureaucratic and overwhelmed, mostly interested in avoiding scandal. Vocal Range: Baritone/Tenor Ensemble Roles High school students, parents, teachers