Title: All Shook Up Presented By: Phoenix Ensemble Genre: Musical Theatre Synopsis: Loosely based on Shakespeare’s Twelfth Night, All Shook Up is built around the songs made famous by Elvis Presley. It takes place in 1955, in a small, conservative town where a surprise visit from a mysterious, leather-jacketed, guitar-playing, motorcycle-riding stranger shakes things up. This rock-and-roll musical features hits like Heartbreak Hotel, Jailhouse Rock, Love Me Tender, Don’t Be Cruel, Can’t Help Falling in Love, and, of course, All Shook Up. Audition Details Audition Dates: 28th, 29th, and 30th March 2025 Individual Auditions (Singing + Acting): Friday, 28th March – 6:00 PM to 9:30 PM Saturday, 29th March – 9:00 AM to 6:00 PM Dance Auditions (General + Advanced): Sunday, 30th March – 9:00 AM to 12:00 PM Callbacks: Sunday, 6th April – 9:00 AM to 12:00 PM Audition Location and Address: Pavilion Theatre (The Tin Shed), Beenleigh Showgrounds, James Street, Beenleigh, QLD Audition Registration: Register Here Audition Pack: Download Here Audition Requirements: All auditionees must book an individual Singing & Acting audition slot. All auditionees must attend the Group Dance Call on Sunday, 30th March from 9:00 AM – 12:00 PM at Crete Street Theatre. Auditionees must provide a performance CV and headshot. Auditionees must be 18 years at time of auditions. Vocal Audition: Prepare 2 audition songs, both approx. 45 seconds to 1 minute in length. Choose one 1950s/60s pop/rock song and one musical theatre song that best showcases your voice and demonstrates a connection to the character. Do not pick a song from the show, but we encourage auditionees to look through Elvis' discography for inspiration. No piano accompaniment will be provided. Please bring a backing track on a device with Bluetooth connectivity or an AUX-compatible device. Acting Audition: Audition sides are available here. Please prepare any excerpt that you resonate strongly with – we want to see your personality shine. You are not required to memorise scenes. Please present all scenes in a general American accent to the best of your ability. Dance Audition: Audition choreography is available here All auditionees must attend the Group Dance Call on Sunday, 30th March from 9:00 AM – 12:00 PM at Crete Street Theatre. Advanced dance call with additional, technical-based choreography held after the General call. Those wanting to audition for the roles of Lorraine and Ensemble must stay for the Advanced call. Bring appropriate dance shoes and wear clothes you can move in. Most female-presenting roles will be required to dance in heels, so it is highly encouraged for those auditionees to bring chorus heels. Scheduling Performance Dates: 1st – 23rd August 2025 Performance Times: Friday & Saturday Evenings Saturday Matinees on 16th & 23rd August (possible extension for 2nd & 9th August matinees if required) No Sunday performances Performance Location: Pavilion Theatre (The Tin Shed), Beenleigh Showgrounds, James Street, Beenleigh, QLD Rehearsal Dates: Vocal Rehearsal – 20th April (9:00 AM – 1:00 PM) Choreography Rehearsal – 27th April (9:00 AM – 1:00 PM) Full Rehearsals commence 4th May Rehearsals held Monday & Wednesday (7:00 PM – 10:00 PM) and Sunday (1:00 PM – 6:00 PM) Sitzprobe/Sing Through – Sunday, 13th July Tech - Commences 13th July Required Age: 18+ Creative Team: Director: Ruby Thompson Vocal Director: Rae Rose Choreographer: Jaime O'Donoghue Production Website: Phoenix Ensemble Website Other Information: No roles are paid. All rehearsals and performances require full commitment. Cast members will be photographed and filmed for promotional purposes. Membership with Phoenix Ensemble and a valid Blue Card are required. Available Roles: Natalie Haller Female Presenting Stage Age: 20s Vocal Range: F#3 - F5 A mechanic who is more comfortable in greasy overalls than a dress. Dreams of life beyond her small town. Spends half the show disguised as "Ed" to get closer to Chad. Chad Male Presenting Stage Age: 20s - 30s Vocal Range: F#2 - A4 A great lookin', motorcycling, guitar-playing, leather-jacketed roustabout. Sylvia Female Presenting. Stage Age: 30s - 50s Vocal Range F3 - F5 The no-nonsense owner of "Sylvia's Honky Tonk". Strong sense of comedic timing. Lorraine Female Presenting Stage Age: 16-18 Vocal Range: C4 - Eb5 Sylvia's daughter, pretty, smart and a total romantic Jim Haller Male Presenting Stage Age: 30s - 50s Vocal Range: A#3 - E4 Natalie's widowed father; middle-aged and messy, he still longs for his wife. Dennis Male Presenting Stage Age: 20s Vocal Range: A2 - Bb4 Natalie's awkward best friend and secret admirer. Miss Sandra Female Presenting Stage Age: 20s - 40s Vocal Range (E3 - F5) The beautiful, intelligent caretaker of the town museum. Unapologetically knows what she wants. Mayor Matilda Hyde Female Presenting Stage Age: 30s - 50s Vocal Range: Bb3 - C6 The town's judgemental and rigid major. Strong sense of comedic timing. Dean Hyde Male Presenting. Stage Age: 16-18 Vocal Range: D3 - Bb4 Matilda's son, grew up in military boarding school. Sheltered and awkward, love brings out a new side of him. Sheriff Earl Character identifies as male Stage Age: 30s - 50s The law in town. A man of not many words. Matilda's right-hand man. Ensemble Seeking 6-8 strong singers and dancers to make up the townspeople. Many featured roles and dance opportunities. Note: All principal roles engage in forms of staged intimacy including kissing and embracing. We will be working with a certified Intimacy Co-ordinator. Please notify the production team in your audition if this is not something you are comfortable with. This will not affect your casting outcome. Note: The roles of Sylvia and Lorraine were created for and originally played by African American actors in the 2005 Broadway Production. Whilst we highly encourage BIPOC performers to apply, all performers of all ethnicities will be considered for this role due to the alternate option script being used (in accordance with our licensing agreement).

Marvel, mystery, and a whole lot of magic – 'Theatre of Magic' at Rydges Hotel in Fortitude Valley is a must-see for anyone who enjoys being astonished. With a mix of world-class illusions, sharp comedy, and some truly mind-blowing tricks, this intimate theatre offers an unforgettable experience. Whether you need a unique date night, a fun family outing, or just looking to inject a little wonder to your weekend, this show is guaranteed to leave you spellbound. The show was divided into two segments: a captivating 30-minute close-up magic performance by Christopher Wayne, followed by a 45-minute stage act by The Amazing Nigel. Believe me, both were packed with moments that left the audience gasping, laughing, and whispering, “How?!”   From the moment you walk in, the magic duo of Christopher Wayne and The Amazing Nigel made sure every single person felt welcome. They personally greeted each audience member at the door, and Nigel even went the extra mile to memorise everyone’s names. That’s right – he knew every person by name. And by the end of the night, we were all laughing together like old friends. Christopher Wayne, renowned Vegas headliner and one-half of The Naked Magicians (though fully clothed on this occasion I assure you), exudes pure charisma. His comedy is quick, charming, and never awkward or cringey, with a knack for keeping the audience completely mesmerised. His tricks? Astonishing of course. He casually produced a bowling ball out of an art book, amazed us with a clever celebrity "Guess Who" trick, and left us in awe with his sleight of hand card tricks. But the moment that absolutely floored me? The Coke can trick. Right before our eyes, he took a crushed, empty can, restored it, refilled it, and resealed it—only to dramatically shake it and pop it open, spraying soda everywhere. Then there's The Amazing Nigel—and believe me, "amazing" doesn't even begin to cover it. His performance is a flurry of magic, mischief, and memory tricks. One moment, he's showcasing an incredible memory feat; the next, he's executing a full-scale magic trick with an old banana or a newspaper. But the most astonishing moment for me? The $100 bill and the lemon. I watched the bill vanish before my eyes and transform into a $5 bill, only for the $100 to reappear inside an uncut lemon. HOW? Nigel's act radiates a wonderfully chaotic energy that appears entirely spontaneous, yet each move is carefully crafted. A memorable moment was a trick where he revealed the secret to the audience while keeping it concealed from the participants—a clever touch that had us all laughing at their expense. And just when you think you've figured out his strategy or a trick seems to have gone wrong, he astounds everyone by completely turning the tables with some truly unbelievable feats.   Throughout the night, the audience participation was perfect. Willing legends were called up (by name of course) to assist with tricks, props were distributed, which they got to keep (ranging from awesome items like a block of Toblerone or a sandwich maker to utterly pointless ones like a slice of cheese or a piece of rope). Even the smallest details were thoughtful – from the customised letter cards to the Lindt chocolate on each seat, everything felt premium and personal.   By the end of the show, one thing was clear – unless you are a total bummer, this is a show you’ll want to see again. I overheard some audience members who were on their second or even TENTH visit, and honestly? I get it. With a rotating lineup of magicians and ever-changing tricks, no two shows are exactly the same. And with 'Theatre of Magic' performing every weekend in Brisbane (plus a monthly show in Toowoomba), it’s the perfect excuse to relive the magic and experience the wonder once more.   So, if you enjoy magic, laughter, and a touch of absolute WHAT-THE-HECK-DID-I-JUST-WITNESS, do yourself a favour – grab a ticket, sit back, and prepare to be amazed.   Theatre of Magic is s uitable for ages 10+; $69 to $89 for VIP seating; theatreofmagic.com.au

Centenary Theatre Group’s production of ' Veronica’s Room' , written by Ira Levin and directed by Rhyll Bucknell, is a chilling psychological thriller that ensnares its audience in an intricate web of deception, suspense, and unnerving twists. Featuring Meg Hinselwood, John Bennetto, Peter Van Werkhoven, and Mariam Mijnnsen—credited only as Woman, Man, Boy, and Girl (for reasons that become clear later)—this production masterfully blurs the lines between reality and perception, leaving the audience teetering on the edge of uncertainty.   Without giving too much away... John and Maureen Mackey, the caretakers of the Brabissant mansion, strike up a conversation with a young couple, Susan and Larry, at a restaurant and persuade them to visit the house. When they reveal that Susan bears an uncanny resemblance to the long-deceased Veronica Brabissant, they ask her to impersonate Veronica briefly to bring comfort to Veronica’s elderly and ailing sister, Cecilia. What begins as a friendly favour soon spirals into a psychological nightmare as Susan finds herself trapped in Veronica’s old room. Reality begins to blur, trust becomes a fragile illusion, and the boundaries between past and present dissolve as Susan—who knows herself to be from 1973—is manipulated into believing she is actually Veronica, living in 1935.   From the outset, Meg Hinselwood and John Bennetto establish an uneasy tension, striking a fine balance between the warmth of welcoming strangers and the underlying sense that something is unshakably  wrong. But once Mariam Mijnnsen’s Susan steps into Veronica’s shoes—both literally and figuratively—the production transforms into an unrelenting psychological battleground.   Mariam Mijnnsen delivered the standout performance of the night. Her transformation from a friendly, unsuspecting young woman into a state of disoriented distress and terror was utterly compelling. One of her most chilling scenes came when she clung desperately to her 1973 reality, rattling off facts and famous figures in a futile attempt to anchor herself in her own time. She balanced Susan's vulnerability and assuredness with precision, making her character’s journey deeply memorable.   Meg Hinselwood tackled the role of the Woman with unnerving conviction, navigating a character that demanded a drastic shift in both demeanour and presence. Her transformation from seemingly benevolent to spine-chilling malice was both gradual and striking. John Bennetto and Peter Van Werkhoven provided solid support, though their performances occasionally lacked the same weight and presence as their female counterparts. Nevertheless, their character shifts in Act Two were executed well and contributed to the play's growing sense of unease.   The production’s design choices amplified the narrative’s sense of confinement. The set design was a standout element—a richly detailed time capsule of Veronica’s preserved bedroom, initially draped in sheets. Every detail, from the imposing wooden door with its heavy lock to the aged textiles, gramophone, and barred windows, contributed to a creeping sense of inescapability. Lighting and sound were used strategically to heighten tension, with subtle atmospheric shifts reinforcing the play’s psychological horror elements.   At around 100 minutes, Veronica’s Room  is a tightly wound thriller that demands unwavering attention. Rhyll Bucknell’s direction ensures the suspense never wanes, with each scene layering another level of discomfort. At times, dialogue delivery felt disjointed and a few early lines from the Man were lost, slightly dampening the impact of the play’s initial buildup. That said, the clarity improved as the play progressed, allowing the final act to land with full impact. The setting was well reflected in the costuming, particularly in Susan’s transition from the free-spirited attire of the 70s to the restrictive clothing of the 30s—a symbolic visual shift.   'Veronica’s Room'  is not for the faint of heart. The production plays with perception so effectively that by the time Susan is desperately asserting her identity, the audience, too, is questioning everything they thought they knew. The second act fully embraces the play’s mind-bending nature, unfolding like a fever dream that tightens its grip with each passing moment. As the final revelations come to light, they are as unsettling as they are exciting—I only pieced it together mere moments before the truth was revealed.   This was a brilliantly executed production that left its audience unsettled—a chilling reminder of the terrifying power of psychological manipulation. Dark and deeply disturbing at times, the play delivered a sharp, intelligent, and suspenseful theatrical experience.

Tugun Theatre Company's staging of ' Checkmate ' brought a classic whodunit to life with intrigue, layered performances, and a thrilling game of deceit. Under the direction of Cee Campbell, this play by Leslie Sands delivered a suspenseful story full of twists and turns to keep the audience guessing right up until the final dramatic moment.   Set in the living room of washed-up television actor Peter Conway, the play opens with a striking scene: Peter, played with an natural charm by Nathan Schulz, pours himself a drink after discovering his wife, Stella, dead from an apparent drug overdose. But rather than reacting with immediate distress, Peter remains unnervingly composed as he contacts the police. Enter Detective Sergeant Drummond, portrayed with quiet tenacity by Viv Gian. Initially starstruck by the former TV star, Drummond soon begins to pick apart the inconsistencies in Peter’s story. Through a series of flashbacks woven into their exchanges, the truth behind Stella’s death begins to unravel—was it an accident, suicide, or something far more nefarious?   Nathan Schulz was an undeniable force as Peter, expertly capturing the character’s arrogance, charm, and slow unravelling as suspicion mounts against him. He brought a sleazy quality to the role, embodying a man who thrives on the chase more than the prize, and who mourns the loss of his career and fame more than his wife. Peter, once famous for his role in the TV series 'Inspector Savage' , means he is no stranger to playing a detective, yet now, in reality, he finds himself on the other side of the investigation. The question looms throughout the play: is Peter truly innocent, or is his innocence just another performance?   Vivian Gian, as Inspector Drummond, was the perfect foil to Peter’s self-serving bravado. Friendly yet sharp, her keen intellect allowed her to unravel Peter’s hidden financial troubles and possible motives. Their dynamic, which dominated Act One, was a masterclass in unspoken communication and intellectual sparring. Vivian’s performance was the undeniable standout, bringing a mesmerising depth to Drummond and crafting a masterful clash of wits that was rich with tension and moments of dry humour.   Peta Schulz was brilliant as Stella, Peter’s long-suffering wife. Through flashbacks, we witness Stella’s painful transformation—from a young, hopeful woman to an embittered spouse, trapped in a marriage with a man who stifles her success. Peta infused Stella with intelligence and fire, making her a formidable presence rather than a mere victim of circumstance. As the play unravels Peter and Stella’s tumultuous relationship, we see a drunken man caught in self-sabotage, constantly losing roles while refusing to let Stella work. Peter’s increasing selfishness makes him more detestable as the play progresses, but I love how Stella throws insults back at him. She sees through his façade, fully aware of his infidelities. No longer interested in playing his game, she disengages—resolute and unyielding. The chemistry between Nathan and Peta, as a real married couple offstage, made their on-stage relationship feel even more authentic and entertaining.   Chantelle Miller was a standout as Lori Nilsson, the young American actress drawn into Peter’s world. From the moment she stepped on stage in a striking red dress, she commanded attention with her confidence and allure. Her initial dismissal of Peter—boldly insulting the star of the show—was a surprising move, which made her eventual affair with him both captivating and somehow inevitable. As their (unseen) relationship evolves into something passionate and possessive, Chantelle portrays Lori’s assertiveness with moments of vulnerability, revealing an underlying insecurity beneath her confident exterior.   Robert Quirk made a strong impression as Richard Shaw, Peter’s agent, despite entering later in the play. His portrayal of a man consumed by unrequited love for Stella and burdened by guilt over her death unexpectedly enriched the play's emotional arc and filled in crucial gaps in the story. Though his stage time was limited, Robert’s performance was filled with quiet intensity.   The play’s structure demanded audiences to stay fully engaged, as much of the tension lay in the dialogue and the ever-shifting suspicions surrounding Peter. While the first act leaned heavily on conversations between Peter and Drummond, the precarious situation between Schulz and Gian ensured these scenes remained compelling. Flashbacks provided crucial context, although some moments—like Peter’s imagined interrogation of Lori (?)—recycled information we already knew. However, as the puzzle pieces began to fall into place, the pacing picked up, building to a satisfying, gripping final act.   Having seen several whodunits recently, I found the slower pacing at the start, combined with the dialogue-heavy script, required a lot of concentration—something made more challenging by audience noise and the vast distance between the stage and the audience in the hall. Despite these minor challenges, the production succeeded at immersing the audience in 1990s London, with thoughtful costumes, realistic accents, and set pieces that richly brought the world to life. The costumes, designed by Cecile Campbell and the cast, were well-chosen, with Chantelle Miller’s glamorous red dress standing out as a defining piece that encapsulated Lori’s seductive yet dangerous allure. Lighting by Jasper Lee and sound by Molly Dean were vital in distinguishing the flashbacks from the present-day scenes. Their smooth transitions ensured the clarity of the two timelines.   The final confrontation between Peter and Drummond was a masterstroke of verbal sparring, with Peter desperately trying to control his narrative while Drummond methodically dismantled it. Ultimately, the show delivered a captivating and intelligent drama, with stellar performances and precise direction. The tension built to a powerful crescendo in the final moments, culminating in a satisfying conclusion that perfectly underscored the true cost of ambition.

Imagine this: you're just going about your day when suddenly, people start singing. Before you know it, a full-blown musical pandemic sweeps through your city, all thanks to a meteor strike. Welcome to ' The Guy Who Didn't Like Musicals'  at Javeenbah Theatre. Directed by Fiona Mumford, this zany production was the perfect mix of comedy, chaos, and everything you love (and maybe dislike) about musicals. If you’ve ever seen 'Zoey’s Extraordinary Playlist,' it’s got that same wild premise—except here, instead of just one person hearing spontaneous songs, it’s the entire town bursting into full-blown musical numbers, whether they want to or not. This show was an absolute trip in the best possible way; it was also my first time seeing a Starkid production live. Benjamin Bristow (as Paul, our everyman hero) introduced us to his deep disdain for all things musical. But as the musical apocalypse hit, his world quickly spiralled into a nightmare of spontaneous song and dance. For Paul, this was torture. For the audience? It was comedy gold. It was clear from the start that the cast was having an absolute blast with this premise. The show leaned into musical tropes, poking fun at the very genre that has made so many of us fans—and the audience was all for it. Let’s talk vocal talent. Jade Goldberg (Zoey/Alice) was a standout. Her lead performance of " La Dee Dah Dah Day"  was a stunning surprise. Then there was Maegan Weir, who delivered multiple powerhouse solos. First, in " What Do You Want, Paul?" , she serenaded her employee Paul in the least appropriate way possible. Then, as Sam, Maegan sang “You Tied Up My Heart,” and let’s just say the intensity of the moment was as sharp as her vocals. Amelia White (Charlotte) was truly funny and her voice was fantastically powerful,  especially in " Join Us (and Die)" . Elijah Haze (Ted) brought great energy and I thought he was hilarious in every single one of his scenes. Sabre Lilly (Emma) had great chemistry with Bristow’s Paul, particularly in their back-and-forth moments. And then there was Lonnie Toia (Bill)—who made for an incredibly unsettling zombie/alien with just a shift in posture and a dead-eyed stare. If there were an award for "Best Facial Expression in a Zombie Role," Lonnie would have won it, hands down. Jake Goodall was comedic gold as Professor Hidgens. He’s got it all: physical comedy, perfect one-liners, and that “I’m-having-way-too-much-fun-with-this” energy that you can’t fake. His “Show Stoppin Number” was an unexpected highlight—complete with a costume change, Fosse hands, and a whole lot of pizzazz. The direction by Fiona Mumford deserves high praise. She ensured a balance between absurdity and sincerity, ensuring that we remain invested in the characters even as it got more ridiculous. Her ability to play with the genre’s tropes—both embracing and satirising them—added to the show’s charm. Clever touches (like the fake foot) enhanced the comedy, while her direction brought out the best in the cast, allowing each performer to shine in their own unique way. And let’s not forget the music. Alex Angus, the Music Director, did a brilliant job rocking it out on synth and guitar, while conducting the band, like the total rockstar that she is. A live band always elevates a production, and this four-piece ensemble was no exception. The set was minimal, with plenty of greenery to emphasise the chaotic spread of the "alien infection." The costumes were simple and functional, and the makeup was glittery, green, and gorgeous. The sound in Javeenbah Theatre was crystal clear, with mic amplification that actually flattered the vocals instead of making them sound like they were coming from a megaphone. I didn’t realise until the end that Paul hadn’t sung once. But when Benjamin Bristow finally let loose in “Let It Out,” it was a cathartic moment, and his vocals did not disappoint. I’ll remember his performance less for the singing and more for the way he hilariously embodied Paul's increasing stress as everything around him went from bad to worse. All in all, this show was an absolute blast. It was weird, wonderful, and filled with heart underneath all the ridiculousness. I can only hope Javeenbah Theatre continues to bring more musicals like this to the stage—because I’ll definitely be back for more.

Title: Alice in Wonderland: The Pantomime Presented By: The Spotlight Theatrical Company Genre: Pantomime Synopsis: Step into a world of whimsy and wonder with "Alice in Wonderland: The Pantomime!" Follow Alice as she tumbles down a rabbit hole into the absurd world of Wonderland, where logic is turned upside down. Along the way, she encounters quirky characters such as the Cheshire Cat, the March Hare, and the Mad Hatter, as well as the fearsome Queen of Hearts. In a journey filled with riddles, chaos, and satire, Alice learns about courage, friendship, and the joy of curiosity, ultimately discovering that identity is unique and ever-changing. Audition Dates: Saturday 29th March – Sunday 30th March 2025 Audition Time: Saturday 29th March – Vocal Auditions from 4:30 pm (individual times assigned via email) Sunday 30th March – Dance Call at 9:00 am, Acting Workshop at 11:00 am, Callbacks in the afternoon Audition Location and Address: Spotlight Studios – 50 Johnston St SOUTHPORT QLD 4215 Audition Self-Tape Due (if applicable): 5:00 pm, Saturday 29th March 2025 Audition Requirements: Prepare two vocal pieces: one pop song and one musical theatre piece (max 90 seconds each). Cold reading from the script may be required. All auditionees must attend the group dance call (choreography taught on the day). Bring appropriate dance attire and a water bottle. Tap shoes encouraged. Participation in an improvisational acting workshop is required. Callbacks will include additional cold readings and potential vocal recalls. Audition Registration: Email spotlightonalice@gmail.com by 5:00 pm, Friday 28th March with your completed audition form, CV, and headshot. Video auditions will be accepted and must be submitted by 5:00 pm, Saturday 29th March (include both vocal pieces and optional dance footage if auditioning for dance-heavy roles). Audition Pack: Available Here Available Roles: Alice (F, 16+, soprano, strong belt) White Rabbit (Any gender, 16+, mezzo-soprano/tenor, strong belt, strong dancer, narrator role) Mad Hatter (Any gender, 16+, strong comedic skills) Cheshire Cat (Any gender, 16+, strong dancer, ability to tap dance) Tweedle Dee & Tweedle Dum (Any gender, 16+, strong improvisational skills) Queen of Hearts (Any gender, 16+, alto/baritone, strong belt, strong improvisational skills) March Hare (Any gender, 16+, comedic role) Dormouse (Any gender, 16+, comedic, strong improvisation encouraged) White Queen (Any gender, 16+, soprano/mezzo-soprano, strong belt, comedic role, ensemble feature) Caterpillar (Any gender, 16+, ensemble feature role, philosophical character) Ensemble (Various Wonderland creatures and card ensemble, strong mix of singers and dancers, tap dancing encouraged) Performance Dates: Season 2nd July - 12th July, 2025 Performance Times: Performance 1 Wednesday 2nd July 10.30am Performance 2 Thursday 3rd July 10.30 and 2.00pm Performance 3 Friday 4th July 10.30 and 2.00pm Performance 4 Saturday 5th July 10.30 and 2.00pm Performance 5 Monday 7th July 10.30 am Performance 6 Tuesday 8th July 10.30 and 2.00pm Performance 7 Wednesday 9th July 10.30 and 2.00pm Performance 8 Thursday 10th July 10.30 and 2.00pm Performance 9 Friday 11th July 10.30 and 2.00pm Performance 10 Saturday 12th July 10.30 and 2.00pm Performance Location: The Spotlight Theatrical Company, 185-187 Ashmore Rd, Benowa QLD Rehearsal Dates: Commence Monday 7th April 6.00 pm-10pm for a meet and greet and script read through. Rehearsal Times: Times will vary throughout the rehearsal period. Mondays From 6.30pm to 10pm Wednesdays From 8pm to 10pm Sundays – From 1pm to 7pm Required Age: 16+ Years Writer/Director/Music Director: Ruby Tate Choreographer: Georgia Ogge Production Website: Spotlight Theatre Auditions Other Information: Successful auditionees will be notified via email by 5:00 pm, Tuesday 1st April. For inquiries, email spotlightonalice@gmail.com If successful in gaining a place in this production, you will be required to become a member of The Spotlight Theatrical Company.

Watching Credulous  felt like tumbling headfirst into a whimsical fever dream—one that somehow managed to be both laugh-out-loud fun and deeply moving. Presented by Verum Arts at the Merthyr Road Uniting Church, this original jazz musical, the brainchild of Arina Dara and playwright Phoebe Quinn, took the complicated emotions of grief and loss and spun them into something spellbindingly fantastical.   As soon as the overture began—performed by the jazz band consisting of Max Berger, Alex Wilson, Tristan Hargreaves, Kyle Neilan, and Eden Gray—I knew I was in for something special. With music by Max Berger and Alex Wilson, lyrics by Jake Brown, Ernest Corbet, Arina Dara, Mak Harris, and Alex Wilson, and direction from Arina Dara and Ernest Corbet, Credulous  delivered a completely original score wrapped in self-aware storytelling.   The story opens with Venus (Isaac Ruthenberg) and his minions concocting a mysterious potion—but something’s missing. Meanwhile, young lovers Toby (Ethan Irvine) and Aida (Maddie Martin) revel in the warmth of domestic bliss, dancing in their living room and planning a romantic getaway. And then, in a devastating instant, everything shatters. Toby’s sudden accident sends Aida spiralling into a whirlwind of grief—precisely the emotion Venus needs to complete his spell. Lured into Venus' lair, Aida is presented with a choice: accept reality or risk everything to bring Toby back. Maddie Martin delivered a profoundly emotional and grounded performance as Aida, particularly excelling in her portrayal of the shifting stages of grief. Her duet with Ethan in the ' Happy Sad Song' was moving, and her voice carried sincerity. Ethan Irvine’s portrayal of Toby was equally endearing, capturing the warmth and devotion of a man in love in every lingering moment—even when separated by death. His opening number, ' Toby's Song' , beautifully established their relationship, with Ethan’s voice embodying that classic Disney Prince quality—warm, hopeful, and completely enamoured with Aida. Their dynamic felt natural—like we were spying on a real couple's conversation, including the occasional cracks that form in communication. What made this show so compelling was its ability to balance light-hearted musical absurdity with a deeply human truths. The show invited audiences to see themselves in Aida’s journey, grappling with denial, anger, depression, and the desperate hope to rewrite fate. Maddie's portrayal of Aida’s anger stage is strikingly real, particularly in the moments where she is overwhelmed with well-meaning condolences at work while still haunted—quite literally—by Toby’s absence. This frustration and aching need for closure is beautifully woven into the fabric of the show. This brings me to Venus, the enigmatic wizard-god-sorcerer played to perfection by Isaac Ruthenberg. His impeccable voice acting and comedic timing made Venus a captivating and multifaceted antagonist. The showstopper 'Meeting Venus' was a particular highlight, exuding the seduction and mischief found in the best villain songs. While the trumpet and sax occasionally threatened to overshadow Isaac’s performance, his voice still commanded attention—smooth and intoxicating, with a jazzy vibrato in the verses and a bold, powerful delivery in the chorus. Isaac was absolutely irresistible, both in tone and presence.   The supporting characters added even more texture to this already vibrant world. Ella Dickson was a scene-stealer as Rosie, the hilariously irritating ‘cat lady’ co-worker, with her deliberately grating voice and comically dramatic reactions. Tabitha Franklin and Ella, as the Whispers—Venus' mischievous, gremlin-like minions—injected the show with zany physical comedy that kept the energy high. Spooky’s portrayal of Lydia, Aida’s mother, offered a grounded, wry counterbalance to the chaos around her. Her interactions with Isaac were among the sharpest, sweetest, and most entertaining moments in the script. In her duet with Maddie, 'The Hair is the Thing,' Lydia’s role as the grounding force became clear as she tried to prevent her daughter from spiralling too far into the bargaining stage. One of the more fascinating elements of Act Two was their interpretation of the afterlife. Venus’ explanation of Limbo—not to be confused with Purgatory—was particularly memorable, offering a creative and thought-provoking perspective on what occurs after death. This led to the 'Limbo Song' , a lively group number led by Tabitha as Cari, where Aida finds herself in a surreal, existential conversation about grief, loneliness, and purpose, all while continuously dancing. This extended sequence blended choreography (by Jasmine Muir) and dialogue in a way that kept the audience completely absorbed. And then there was the music. The jazz-infused score was absolutely stunning. 'Venus’ Ballad' was an unexpectedly moving moment—not only a showcase for Isaac’s exceptional vocals but also a revelation of Venus’ own hidden grief and motivations, shaped by the loss of his parents. The weight of his guilt, pain, and loneliness, woven into a hauntingly beautiful melody and lyrics, offers a moment of raw vulnerability that stands in stark contrast to his earlier playful bravado. ‘Aida’s Decision’  closed Act One not as a sombre lament, but as an upbeat anthem of yearning for one more day with your beloved—a bold choice that succeeded beautifully. By the time we reached the finale, 'Love’s a Guiding Light,' I found myself completely swept up in the show’s message. The reunion between Aida and Toby was genuinely heartwarming, with Ethan’s portrayal adding a layer of tenderness that made Toby’s presence feel comforting, even in its bittersweetness. The dialogue in this final conversation was so poignant, I found myself wishing I could bottle it up and carry it with me always. The production’s designer, Hollie Pianta, made choices that were simple but effective. Fairy lights shifted colours to match the mood, and the drapes and cauldron of green and purple set a mystical tone. The minimal set was adaptable to allow for transitions (albeit a bit lengthy) between the mundane and the magical. Caleb Bartlett’s lighting and sound design enhanced every moment, especially during ‘The Spell Song,’  where the lights synchronised with each potion ingredient being added—a stunning example of how simple effects, when executed well, can elevate a scene. Verum Arts, founded by QUT graduates in 2023, proves that emerging artists can craft worlds just as rich and compelling as those from seasoned theatre companies. Credulous  doesn’t merely tell us a story; it builds a world that pulses with life, pain, and wonder. This production left an imprint, not only for its originality but for the raw honesty woven into its magical narrative. It’s a show that truly deserves to be seen and celebrated.

Title: Theatre for Dummies: A Post-Apunkalyptic Play Presented By: Lottie Nella Genre: Musical Theatre Synopsis: Theatre for Dummies is a 45-minute musical written by Lottie Nella that explores the value of art and creativity in a post-apocalyptic, kind-of-functioning society. Audition Date: 13th-15th March (in-person) Audition Location: Visible Ink Youth Hub, Fortitude Valley Audition Self-Tape Due (if applicable): Submissions close Midnight, 23rd March Audition Requirements: Prepare a contemporary monologue. 16-bar cut of a song. Audition Registration: Email lottienella@outlook.com or contact via Instagram @theatrefordummies Audition Pack: Available here Available Roles: JACK INGOFF: Older brother to MIKE OXLONG, 14 years old, extremely bogan with a terrible Aussie accent. Casting any age, gender, ethnicity. Tenor-adjacent. MIKE OXLONG: Younger brother to JACK INGOFF, 12 years old, same accent as his brother, timid but goofy and playful. Casting any age, gender, ethnicity. Tenor-adjacent. THE LIBRARIAN: Parent to JACK and MIKE, crazy and theatrical, speaking in Elizabethan, literature quotes, and random broken rhythm poetry. Casting any age, gender, ethnicity. Range to suit actor. THE BARD: Optimistic, stubborn, curious storyteller from a town without art. Casting any age, gender, ethnicity. Range to suit actor. THE LUTE: Silver-tongued, bored, pessimistic, former great musician turned washed up. Loves playing with the fact that people can’t see their physical body. Casting any age, gender, ethnicity. Range to suit actor. Performance Dates: Late July / Early August (dates TBD) Performance Location: TBD Rehearsal Dates: Starting in April, spanning 15-16 weeks

Title: Mamma Mia Presented By: Spotlight Theatrical Co. Genre: Musical Synopsis: Mamma Mia! is a lively, heartwarming musical based on the songs of ABBA. Set on a Greek island, it tells the story of Sophie Sheridan, a young woman determined to find her father before her wedding, leading to the surprise reunion of her mother, Donna, with three former lovers. With a vibrant, energetic storyline and catchy tunes, the show brings joy and nostalgia to audiences of all ages. Audition Dates: Video Submissions Close: Sunday, 30th March 2025 Singer/Dancer/Movement Callbacks: Saturday, 5th April 2025 Final Callbacks: Sunday, 6th April 2025 Audition Location and Address: Johnston Street Studios, 4/50 Johnston St, Southport Audition Requirements: Submit a video audition (maximum 30 seconds, full body, with backing track) Prepare TWO songs: one upbeat and one ballad, each showcasing vocal range (verse and chorus only) No acapella auditions accepted Must attend Dance and Movement Calls if required Audition Registration: Complete the audition form and video submission, along with CV and headshot to spotlightonmammamia@gmail.com Rehearsal Period: Costume Fittings: 7th April 2025 Rehearsals Begin: 23rd April 2025 Performance Dates: 18th July 2025 – 16th August 2025 Age: This production is open to ages 16+ only due to themes explored. Production Website: Spotlight Theatrical Co. Audition Information Other Information: Availability for rehearsals and performances is crucial. Missing more than 3 rehearsals without prior notice will render you ineligible. Available Roles: Donna Sheridan (40-45 stage age): Strong feminist, former lead singer, must move well. (mezzo-soprano) Sophie Sheridan (20-25 stage age): Zany spirit, determined to find romance. Must dance well. (pop soprano) Tanya (40-45 stage age): Rich, sophisticated, funny. Must move well. (mezzo-soprano) Rosie (40-45 stage age): Strong, confident, comic actress. Must move well. (mezzo-soprano) Sam (40-45 stage age): Charming architect, may be Sophie’s father. Must move well. (baritone) Harry (40-45 stage age): Wealthy financier, reconnecting with his youthful self. Must move well. (high baritone) Bill (40-45 stage age): Travel writer, good-natured and adventurous. Must move well. (high baritone) Sky (20s): Sophie’s fiancé, charismatic. Must dance well. (tenor) Lisa (20-25): Energetic, kooky friend of Sophie. Must sing and dance well. (mezzo-soprano) Ali (20-25): Impulsive friend of Sophie. Must sing and dance well. (mezzo-soprano) ENSEMBLE – All Ensemble Actors must be exceptionally strong actors/singers who dance well and are confident and adept at creating fully realised, strong, textured characters. We are seeking full range of male & female voices. Looking for all ages (16+), races, genders, shapes, and sizes. The vocal ensemble will be made up of the Understudies for principal roles. VOCAL BACKING – We are also searching for talented singers who may not have the time commitment for a full rehearsal season to take on offstage vocal backing. All voice types and ages above 16 considered.

Title: The Wizard of Oz - Youth Edition Presented By: BG Performing Arts Genre: Musical Theatre Synopsis: Dorothy Gale is transported to the magical Land of Oz, where she embarks on a journey to the Emerald City. Along the way, she befriends a Scarecrow, a Tin Man, and a Cowardly Lion, all in search of something they believe they lack. Facing off against the Wicked Witch of the West, Dorothy learns that courage, love, and wisdom were within them all along—and that there's no place like home. AUDITION DETAILS: Audition Date: Sunday 16th March 2025 Audition Times: Ages 6 – 12: 9:00 AM – 12:00 PM (Sign-in from 8:45 AM) Ages 13 – 18: 12:30 PM – 5:30 PM (Sign-in from 12:15 PM) Audition Location and Address: Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Audition Self-Tape Due (if applicable): Contact info@bgperformingarts.com for online submission options. Audition Requirements: Participants will take part in a vocal, acting, and dance session. What to Bring: Comfortable clothing, closed-toe shoes (jazz shoes recommended but not required), a sweat towel, water, snacks. What to Prepare: All materials will be provided on the day. Singing and acting materials can be accessed via the Dropbox link provided after registration. Off-book performances are encouraged! Audition Pack Workshop Dates: Sunday 6th April – Friday 11th April, 2025 Workshop Times: Sunday: 9:00 AM – 5:00 PM Monday – Wednesday: 9:00 AM – 5:00 PM Thursday: 9:00 AM – 8:30 PM Friday (Performance Day): 10:00 AM – 9:30 PM Full availability required for all scheduled rehearsal times. Performances: Friday 11th April at 2:00 PM & 7:00 PM Location and Address: Rehearsal Venue: Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Performance Venue: Everton Park SHS Performing Arts Centre, 668 Stafford Rd, Everton Park QLD 4053 Required Age: 6 – 18 years old Creative Team: Director: Sam Caruana Choreographer: Bella Gordon Music Director: Kate Baxter Production Manager: Tallulah Baird Production Website AVAILABLE ROLES: Dorothy Gale Scarecrow Tin Man Cowardly Lion Glinda the Good Witch Wicked Witch of the West The Wizard of Oz Aunt Em & Uncle Henry Munchkins, Winkies, Flying Monkeys, Ozians

Title: My Brilliant Career Presented By: St Luke’s Theatre Society Genre: Play (Australian Drama) Synopsis: An ensemble adaptation of Miles Franklin’s classic novel, My Brilliant Career follows the fierce and passionate Sybylla Melvyn, a young woman determined to forge her own path despite the constraints of society. Surrounded by poets, suffragettes, family, and suitors, Sybylla’s journey is one of resilience, ambition, and defiance in a world that seeks to define her. Audition Date: Saturday 22 March 2025 Audition Time: 9:00 AM – 12:00 PM Audition Location and Address: Christ Church Hall, Yeronga, QLD Audition Requirements: Prepare a short (2-minute) monologue from an Australian play. Be prepared for cold readings from excerpts of the script (provided on the day). To register your interest or request more information, contact Director Nigel Munro Wallis at nigelmunrowallis@gmail.com. Available Roles: This is a true ensemble piece, requiring actors to morph in and out of various characters. Stella Miles Franklin – Fierce and passionate writer and adventurer Henry Lawson – Poet; drunk, sad, past his prime Banjo Paterson – Poet; friendly, charming Vida Goldstein – Suffragette and Stella’s friend; confident, inspiring Sybylla Melvyn – 18, high-spirited, independent, intelligent Mrs Melvyn – Former aristocrat, now struggling with poverty and a large family Dick Melvyn – Former respectable farmer, now an alcoholic Gertie – Sybylla’s little sister Horace – Sybylla’s little brother Granny Bossier – Wealthy, traditional Aunt Helen – Sad, restrained Harry Beecham – Wealthy, handsome, Sybylla’s love interest Frank Hawden – Pompous, irritating Aunt Augusta – Wealthy, loud, amusing Mrs M’Swat & Mr M’Swat – Poor, dirty, uneducated The M’Swat children – Poor, dirty Various Ensemble Roles: Townspeople, Women at church, People on trains, Farmers, Bailiff, Priest, Doctors Performance Dates: Evening Performances: 7:30 PM – 6, 7, 13, 14, 20, 21 June 2025 Matinee Performances: 2:00 PM – 7, 14, 21 June 2025 Rehearsal Dates: Monday 31 March – Sunday 1 June 2025 Rehearsal Times: Mondays & Wednesdays: 6:30 PM – 9:00 PM Sundays: 3:00 PM – 6:00 PM Note: All cast members must be current or willing to become members of St Luke’s Theatre Society. Production Website: More Information & Audition Details

Title: Cruel Intentions: The '90s Musical Presented By: Beenleigh Theatre Group Genre: Jukebox Musical Synopsis: In the scandalous world of Manhattan’s elite, step-siblings Sebastian and Kathryn rule their prestigious prep school with seduction, manipulation, and control. Their latest game? A mischievous bet—can Sebastian successfully deflower the innocent Annette Hargrove, the headmaster’s daughter, without losing himself in the process? Set to a soundtrack of iconic ‘90s anthems, Cruel Intentions: The '90s Musical is a high-stakes battle of power, passion, and deceit, where no one is safe from the fallout. Audition Dates: Saturday 22 March 2025 - Sunday 23 March 2025 Audition Times: 12:20pm - 5:00pm both days Audition Location and Address: Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Callbacks: Wednesday 26 March 2025 Audition Outcome Announcements: Friday 28 March 2025 Audition Requirements: Dance Call: All auditionees must register for either a Beginner or Advanced Dance Call. Beginner: Suitable for those who consider themselves movers rather than trained dancers. Advanced: Recommended for those with previous ensemble experience or strong dance skills. If unsure, contact info@beenleightheatregroup.com for guidance. Individual Audition: All auditionees must register for a one-on-one audition with the panel. Prepare one monologue (max. 2 minutes) in the style of the character you are auditioning for. Prepare two contrasting songs: One song from the 90s. One song in the style of the show (not from Cruel Intentions). Each song should be 16-32 bars and no longer than 1 minute. Bring a backing track on a USB or device (no accompanist provided). Audition Registration: Register for an audition here Audition Pack: Download the audition pack here Performance Dates: Opening Night: Friday 13 June 2025 Closing Night: Sunday 28 June 2025 Performance Location: Crete Street Theatre, Beenleigh QLD Rehearsal Dates: Sunday 30 March - Sunday 1 June 2025 Tech/Dress Rehearsals: Sunday 1 June - Thursday 12 June 2025 Sitzprobe: Sunday 25 May 2025 Warnings: This production is considered R - Restricted. As such, those aged 17 years and under will not be permitted to audition. Required Age: 18+ Creative Team: Director: Elodie Boal Producer: Joshua McCann-Thomson Musical Director: Hayley Marsh Choreographer: Jennifer B Ashley Lighting Design: Tony Kerr Sound Design: Mal Boal Production Website: Beenleigh Theatre Group Auditions Available Roles: SEBASTIAN VALMONT Playing Age: 17-18 Vocal range: G3 - C6 / Tenor A wealthy, charming and manipulative young man who uses seduction as a game, never allowing himself to feel real emotions. KATHRYN MERTEUIL Playing Age: 17-18 Vocal range: G3 - D5 / Mezzo-Soprano The ultimate queen bee - intelligent, ruthless, and always in control. She wears a perfect, polished façade while secretly delighting in manipulation and destruction. ANNETTE HARGROVE Playing Age: 17-18 Vocal range: G3 - D5 / Mezzo-Soprano Sweet, idealistic, and pure-hearted, Annette believes in love and honesty, making her the perfect target for Kathryn and Sebastian’s cruel bet. CECILE CALDWELL Playing Age: 17-18 Vocal range: F3 - D5 / Mezzo-Soprano A sheltered and immature girl, Cecile is clueless about the elite world she has been thrown into. She is naïve and easily manipulated, particularly by Kathryn, who delights in corrupting her. GREG MCCONNELL Playing Age: 17-18 Vocal range: G3 - A♭5 / Tenor A privileged, handsome jock with a carefully crafted image. While he plays the role of the all-American golden boy, he hides insecurities and secrets that make him susceptible to manipulation. RONALD CLIFFORD Playing Age: 18-22 Vocal range: G3 - C#6 / Tenor Note: This is a BIPOC Role. Talented and kind-hearted, Ronald is a music teacher who genuinely cares for Cecile. He is intelligent, refined, and passionate, but his trusting nature makes him vulnerable to Kathryn’s schemes. MRS. BUNNY CALDWELL Playing Age: 40-60 Vocal range: F3 - F5 / Mezzo-Soprano Cecile’s overprotective and controlling mother. She is determined to keep her daughter’s innocence intact, but her elitist and judgmental views blind her to what’s really going on around her. BLAINE TUTTLE Playing Age: 17-25 Vocal range: G3 - C6 / Tenor Charming, flamboyant, and mischievous, Blaine is a social butterfly with a sharp wit. He enjoys stirring the pot and has his own secrets that make him an integral player in the tangled web of deceit. ENSEMBLE Playing Age: 16+ Students, socialites, and members of the elite Manhattan prep school scene. They add to the atmosphere of wealth, excess, and scandal while supporting the lead characters in key moments. Featured dancers will also be cast.