Spotlight Theatrical Company is celebrating an impressive 70 years, and what better way to mark the occasion than with an electrifying season of Fame the Musical ? This is my first time catching a Spotlight production, and if this sold-out show is anything to go by, I’ve seriously been missing out! (Curse living in Brisbane!) Fame is a high-energy spectacle that transports us straight into the bustling halls of New York’s High School of Performing Arts. This film-turned-international sensation deals with all the ups and downs, the romances and heartbreaks, and the pursuit of your dreams as young artists. Spanning from their freshman year in 1980 to their graduation in 1984, the musical swiftly follows the journeys of several students. With an astonishing cast, beautiful production design, and some seriously impressive choreography, I found this show was a blast from beginning to end.   As you settle into your seat in the Halpin Auditorium, you're time-warped straight back to the 80s, with music from that era playing before the show even kicks off. The theatre’s setup makes the experience even better, offering tables for comfort and excellent sight-lines from every seat. The performance I attended was completely sold out, and by all accounts, the rest of the season is too—so if you managed to snag a ticket, count yourself among the fortunate! When the lights dim, the opening number "Pray/Hard Work" comes to life with a crescendo, as the entire cast—including the teachers—delivers a high-energy performance to introduce the characters and set the stage for the story. Their characterisation is strong across the board, with each performer bringing authenticity to their roles (not too difficult when they’re all triple threats themselves). You can sense that every student at the High School of Performing Arts is eager to make their mark, and so is this cast. One especially electrifying moment is when the cast charges downstage to the curved edge, passionately belting out, “When I hit the heights! Put my name in lights!”—instant chills.   Visually, this production is stunning. The scenic design (by Andrew Kassab and team) appears highly professional as a fully immersive high school aesthetic. Complete with posters and graffiti-covered walls, functional rotating lockers that double as dance studio mirrors, a staircase and a balcony level for the live band. There’s even a large painting of Pink Floyd’s Dark Side of the Moon on the wall—nice touch. The wings are cleverly concealed, with doors used for entrances and exits, making it feel as though we’re truly inside the performing arts school's courtyard and classrooms. Lighting (by Leonnie Jones, Stuart Morgan, Ariana Sinner, and team) is well-utilised, even though they apparently had some tech issues during the performance—you'd never know it. In "Pray I Make P.A.," the silhouetted students stand behind the scrim, illuminated by spotlights from above, and singing beautiful layered harmonies that were incredibly pleasing to listen to. The use of fog and red/blue lighting effectively transports us into the gritty, electric world of '80s New York. Costumes (by Stuart Morgan, Andrew Kassab, and team) fully embrace early '80s fashion—scrunchies, denim, neon. The accents are also quite notable, particularly the NYC dialects from the boys and the German teacher being especially convincing. The choreography by Dean Giltinan and Jam Marshall is explosive from the opening number chaos of "Hard Work" to the grand finale "Fame". Every move is sharp, energetic, and wholeheartedly executed (with some acro adding extra excitement). I appreciate how the choreography draws inspiration from the 80s—big, bold, and full of attitude. "Dancin' on the Sidewalk" blends jazz, hip-hop, and groovy disco moves that radiate pure joy. You can tell the cast is having a blast in this number—that's what it's all about! The opening of Act Two, "Junior Festival," features Carmen and Joe (Alannah and Andrew) commanding the spotlight with their stunning partner work and impressive lifts, while the ensemble dances in beautifully coordinated, Spanish style choreography. The nine-member band, under the direction of Matt Pearson and assisted by Ben Harris, expertly merges rock, pop, funk, post-disco, and orchestral elements to bring the score alive. Incorporating musicians playing on stage as part of the cast adds a clever touch of authenticity to the show. Sound design by Nick Willner and Caed Lawson is excellent, perfectly resonating and reverberating the vocals at all the right moments. With a total of 23 students, the vocal power in the finale numbers is immense but never overpowering. Director Stuart Morgan has assembled an exceptional cast, each actor passionately embracing their roles and always serving face. Alannah Eyerich is absolutely magnetic as Carmen Diaz, the sassy and determined triple threat desperate for stardom. With an insanely strong voice and compelling stage presence, she embodies Carmen’s fiery ambition and tragic downfall. Her powerhouse vocals soar in "There She Goes/Fame," a show-stopping double-number featuring vibrant Spanish-inspired choreography that complements her character, along with a massive neon FAME sign lowered from above. Even more impressive is Alannah's vocal control while executing the demanding choreography, especially against the strength of the live band (and a trumpet beside her!). Her final solo, "In L.A.," is gut-wrenching, revealing Carmen’s shattered dreams and hardened persona laid bare, unquestionably delivering the best vocals of the night.   Xavier O’Brien delivers a nuanced portrayal of Schlomo Metzenbaum, the reserved yet passionate pianist and songwriter. The duet "Bring on Tomorrow," performed by Xavier and Alannah, highlights his powerful tenor voice and their undeniable chemistry that adds an emotional undercurrent to the show. Brock Drinkwater as Jack Zakowski commands the stage with effortless swagger in "Jack’s Rap," infusing humour and charisma into the role of the talented yet struggling dancer. His vibrant energy electrifies the stage and he makes the choreography look like a walk in the park. But he really shines in his self-choreographed "Dancin' on the Sidewalk," where the entire ensemble delivers this joyful number in polished synchronisation. Ashley Williams (Goody King) and Shilo Kwocksun (Grace Lamb) totally rock in their roles as the loveable and eccentric band members, with Ashley showing some serious skills tooting the trumpet and Shilo energetically banging away on the drums. Plus, Shilo genuinely looks like she stepped straight out of an '80s film—I'm obsessed! Andrew Kassab as Joe Vegas is an absolute scene-stealer. His knack for comedy and playful execution in "Can’t Keep It Down," a song essentially about teenage hormones, is played with just the right amount of cheek; avoiding what could have been a cringeworthy number and instead making it a comedic highlight. Ally Jeanes-Grant, portraying student Serena Katz, delivers a stunning and heartfelt performance in her solos " Let’s Play a Love Scene " and " Think of Meryl Streep ." Her powerful belt and emotional expression make hers one of the show's most memorable voices. Ty Jordan, as Nick Piazza, brings earnest energy to the role of the serious classical actor, balancing ambition with vulnerability. His duet with Ally in " Love Scene Reprise " showcases the beautiful blend of their voices. Sophie Willmot exudes grace and poise in her portrayal of the talented yet misunderstood ballerina Iris Kelly, especially during her delicate pas de deux with Jack (Brock). Tahlia Gibson as Mabel Washington owns her moment with "Mabel’s Prayer,"  a song that, much like "Beauty School Dropout"  in Grease , might not be entirely necessary, but is performed so brilliantly that you wouldn't want it omitted. Mabel is my spirit animal; her love affair with food is both relatable and entertaining (I'm literally munching nachos as I write this review). Tahlia showcases powerhouse vocals in her solo that's far too short for my liking, and she exudes an irresistibly fun energy, the most vibrant of the entire cast! I found myself waiting for that moment to emotionally connect with a character (beyond my affection for food and the arts). That moment arrived with Rowena Orcullo Ryan as Miss Sherman, who commands the stage as the strict yet caring academic teacher. Her jaw-dropping vocal expression in "These Are My Children" creates a profoundly moving scene—being a teacher myself, I was particularly touched by her heartfelt delivery. The high note she hit was so breathtaking that I distinctly heard someone in the audience gasp, “Wow...” In the "Teacher's Argument," Rowena engages in a rapid-fire lyrical debate with Jennifer Gilbert, who plays Miss Greta Bell, reminding us that "artists are special"—gotta love a dance teacher who’s got your back! The ensemble is equally spectacular as the leads, with eye-catching energy from Jam Marshall, Luan Fitzgerald, and Harrison Salter in particular. Every cast member is engaged, expressive, and bursting with energy though, ensuring that even background moments feel purposeful. Stuart Morgan's direction guarantees that each character has their moment to shine, with smooth pacing that keeps the energy high without feeling hurried (stage managed by Kathryn Henderson, Vicky Speight, and team). The blocking ensures there are no dull moments—much like life at a performing arts school, the action never stops.   Despite being written decades ago, Fame  still resonates today—exploring the pressures and struggles faced by young artists and the exhilarating yet challenging journey of pursuing a dream. Sure, some elements feel dated, but many themes remain relevant within the current arts industry: competitiveness, egos, ambition, adrenaline, heartbreak, community, and the harsh realities of trying to make it. This production is carried by an incredibly strong ensemble, many of whom are alumni from top theatre schools—and it shows. By the time the finale rolled around, I realised I had been smiling throughout almost the entire performance; except for the more sombre moments, of course, which were beautifully acted and emotionally gripping. This production perfectly captures the heart of Fame —a whirlwind experience through four years of arts education, so be ready to keep up! Bravo to the entire cast and creative team—this is one performance that will undoubtedly “live forever” in my memory! Now playing at the Halpin Auditorium until 1st March 2025.

Title: The Bed Party Presented By: Javeenbah Theatre Genre: Play, Drama Synopsis: In a disarrayed bedroom, five women navigate the complexities of their lives, from comforting a housemate after a traumatic date to celebrating new romantic possibilities. As stories unfold, the bonds between these fiercely loyal, loving, and radically honest women are tested and strengthened. With wit, warmth, and unwavering support, they tackle life’s highs and lows, proving that in the end, all you need is the comfort of friends by your side. Audition Date: Saturday 8th March, 2025 Audition Time: 10:00 AM Audition Location and Address: Javeenbah Theatre, Cnr Stevens & Ferry Streets, Nerang QLD Audition Requirements: All auditionees will participate in a group audition – approx. 1.5 hrs, including theatre games and cold reads of the script. The panel will consist of the production creative team and representatives from Javeenbah Theatre. Audition Registration: Register Here Audition Pack: Download Here Available Roles: JASMINE | Female Presenting, 18-40 Stage Age - Jasmine is fiercely loyal, loving and thoughtful. She has a playfulness that only those close to her are privy to. (Includes Same Sex Intimacy.) FINN | Female Presenting, 18-40 Stage Age - Finn is a mouthy, jaded, dyke who protects herself with her quick wit. She is pragmatic, understanding, ethical and open-minded (if a little hot under the collar). (Includes Same Sex Intimacy.) TARA | Female Presenting, 18-40 Stage Age - Is a bisexual woman experimenting with heterosexuality. Though naïve at times, Tara is smart, sarcastic and resourceful. BRI | Female Presenting, 18-40 Stage Age - Is a clever, passionate, well-read, radical lesbian feminist. She is disgruntled by conformity and the queer community’s interest in it. Bri is prone to speaking without thinking but at her core is kind, generous and really tries to accommodate ideologies that differ from hers. (Includes Same Sex Intimacy.) GEORGE | Female Presenting, 18-40 Stage Age - George is a french women cut from the same political cloth as Bri but is a little more romantic. She’s an idealist with a penchant for alternative medicines, ideas and frameworks. She’s a bit of a kook but has a rational side as well. KELLY | Female Presenting, 18-40 Stage Age - Kelly is deeply troubled by capitalism and conservatism but nonetheless enslaved by the normative narrative of motherhood. She wants to procreate and is not interested in reflexivity on this topic. Smaller Supporting Role. (Includes Same Sex Intimacy.) Performance Dates: 20th June, 2025 – 7:30 PM 21st June, 2025 – 7:30 PM 22nd June, 2025 – 2:00 PM 27th June, 2025 – 7:30 PM 28th June, 2025 – 7:30 PM 29th June, 2025 – 2:00 PM Performance Location: Javeenbah Theatre, Cnr Stevens & Ferry Streets, Nerang QLD 4211 Rehearsal Times: Wednesdays: 7:00 PM – 10:00 PM Sundays: 1:00 PM – 6:00 PM Additional times (e.g., tech week) to be communicated by the director. Bump out will occur immediately after the final performance. Warnings: Themes of sexual assault. Required Age: 18+ Director: Jake Goodall Production Website: Javeenbah Theatre Other Information: All volunteers at Javeenbah Theatre must be current members. Membership Details & Application Perusal script available upon request – contact artisticdirector@javeenbah.org.au

Title: The Boys in the Band Presented By: Sunnybank Theatre Genre: Play - Drama Synopsis: Set in 1968 New York, The Boys in the Band follows a group of gay friends gathering for a birthday party in Michael’s upper eastside Manhattan apartment. As the evening unfolds, unexpected guests, unresolved tensions, and a game of "Truth" send the night spiralling out of control. The play explores themes of self-worth, internalised homophobia, and the search for acceptance, offering a candid and, at times, brutal depiction of the lives of gay men in pre-Stonewall America. Audition Date: Sunday, 23rd March Audition Time: 10:00 AM Audition Location and Address: Sunnybank Theatre, 14 Mains Rd, Sunnybank QLD Audition Requirements: Review the audition notice and download the relevant pages for your character. Scenes will be read from provided audition sides. A General American accent is required. Looking to present the play as a group of longtime friends with two interlopers. As such, the emotional shifts should be natural – sometimes subtle, sometimes quick and abrasive. All roles need to be played as very real human beings rather than caricatures. Audition Registration: Register Here Audition Pack: Download Here Available Roles: Michael (30s): Struggles with self-acceptance; caustic when drinking. Donald (30s): Loyal, supportive friend in therapy. Emory (30s, Hispanic): Flamboyant, unapologetic, comic relief. Hank (Early 40s): Conservative, practical, formerly married. Larry (30s): Commitment-phobe, hedonistic. Bernard (30s, African American): Intellectual, empathetic observer. Alan (30s): Michael’s straight, conservative college roommate. Cowboy (Early 20s): Naïve street hustler, childlike innocence. Harold (30s): Sarcastic, self-aware, heavy weed smoker. Note: Some characters engage in non-sexual kisses and light physical intimacy. Performance Dates: 20 June – 5 July Performance Location: Sunnybank Theatre, QLD Rehearsal Dates: TBD Warnings: Strong language Mature themes Substance use depicted Required Age: 18+ Director: Chris O'Leary Production Website: Sunnybank Theatre

Gold Coast Little Theatre has launched its milestone 75th season with a spine-chilling production of ' The Crucible' , directed by Hunter Wall and assisted by Jessica White. Walking in with only a general understanding of the infamous Salem witch trials and the hysteria that fuelled them, I had little idea what to expect. What I experienced, however, was an utterly gripping, stress-inducing, and powerful night of theatre that had me hooked from the very first scene.   Arthur Miller’s ' The Crucible ' is a beast of a play, both in its emotional weight and its sheer length—clocking in at three hours (with an interval). First performed in 1953, it draws direct inspiration from the real-life events of 1692, when an entire Puritan community descended into chaos over accusations of satanic practices. What begins with a group of teenage girls caught dancing in the woods rapidly escalates into a widespread witch hunt. Abigail Williams, fuelled by bitterness and desire after being dismissed due to her affair with John Proctor, coerces Tituba into performing a ritualistic curse on Elizabeth Proctor, John's wife. Their once-peaceful village quickly becomes a world where superstition reigns supreme, and activities like simply reading books or sewing dolls are seen as potential witchcraft. Logic is abandoned, blind faith stokes the flames, and innocent people are condemned to death. It’s a brutal and terrifying commentary on how fear can be exploited and how easily societies can be manipulated—something that, unfortunately, remains just as pertinent today.   "It was only sport in the beginning, until the whole world cried spirits” During the actual Salem witch trials, over 200 individuals were accused, 30 were convicted, and 19 were executed by hanging before the hysteria finally subsided when serious doubts emerged about the reliability of the spectral evidence used to justify many of the convictions. In the subsequent years, several accusers—primarily teenage girls—confessed to having fabricated their claims. Hunter Wall’s directorial vision emphasises this thematic weight, merging period authenticity with a modern urgency. The outcome is an enthralling, suffocating atmosphere that makes the audience feel just as trapped as the condemned. Every aspect of this production operates in haunting harmony, driven by outstanding performances, precise direction, and flawless technical execution.   Dominic Bradley delivers a phenomenal performance as John Proctor, the flawed yet righteous farmer who serves as the story’s moral centre. As one of the few voices of reason, Proctor is caught in a storm of superstition and deceit, and Bradley infuses the role with extraordinary depth. He masterfully balances Proctor's fiery temper with moments of desperate restraint as the persecution intensifies. Bradley's expressive eyes remain locked on the focal character in every scene, as if truly experiencing this frustrating situation in real time. His final scenes are a tour de force—his voice hoarse, his body weary, yet his conviction unshaken. Moments of vulnerability with his wife, his anguish upon learning of his friends' fates, and the torture he endures are performed with fervent intensity. I commend Bradley for consistently tapping into such emotionally and physically exhausting depths in every performance. Opposite him, Olivia French delivers a powerful, understated performance as Elizabeth Proctor, a woman of intelligence, unwavering loyalty, and quiet strength. Elizabeth is fundamentally a caretaker—devoted, pragmatic, and guided by her moral code. French authentically captures her stoic nature, embodying a woman who carries the burdens of betrayal, love, and survival in equal measure. Her Elizabeth is not cold but measured—her words chosen carefully, her emotions restrained, making the cracks in her composure all the more impactful when they appear. Her presence in the final prison scenes is particularly haunting, her body weakened but her spirit intact.   Angelique Giuffre is brilliant as Abigail Williams, the cunning and vengeful young girl whose falsehoods set the town ablaze. She perfectly balances manipulative charm with unhinged ambition, making her both infuriating and fascinating to watch. Giuffre’s commanding stage presence demands attention—often erupting into violent emotion, her voice slicing through the theatre with chilling conviction. The scenes in which she leads the other girls in their choreographed hysteria are particularly strong—each scream, each "possessed" movement reinforcing her grip on Salem. A key catalyst in the madness is Reverend Parris, played by Ricky Moss, who inadvertently sets off the chain of events by summoning Reverend Hale to examine his seemingly possessed daughter, Betty. The actress portraying Betty, Cadence Smith, offers an eerily convincing performance, with her contorted movements appearing both painful and surreal. Moss delivers a perfectly loathsome performance as Parris. His nervous energy, darting glances, and desperate justifications paint a man more concerned with self-preservation than truth. Although Parris is not the orchestrator of this hysteria, his cowardice and willingness to let innocent people suffer make him one of its most frustrating figures. The fact that he, of all people, is the one pushing for mercy in the final act adds a layer of tragic irony. Jolan Walker’s Reverend Hale, on the other hand, undergoes one of the play’s most striking character arcs. Initially, Hale is a determined investigator, certain that he is on a righteous mission to cleanse Salem of the Devil. But as the trials unfold, his certainty begins to crack. Walker’s performance captures this slow transformation, making Hale one of the most intriguing characters to observe as he realises the horrors he has helped unleash. John Arthars as Deputy Governor Danforth and Carey Parsons as Judge Hathorne project an intimidating presence, with their power-driven delight for the trials making them all the more terrifying. Danforth is rigid, unyielding, and blind to reason, making every scene he’s in feel like an uphill battle for justice. The more resistance he encounters, the deeper he digs his heels in, and by the end of the play I am internally screaming at him. His exchanges with Proctor crackle with tension, and his cold dismissal of any logic is enraging to witness. Together, Hathorne, Parris and Danforth represent the spectrum of misguided authority—fear, misplaced faith, and unyielding ego. Their psychological warfare is gripping to witness in Act Two, as Danforth's unwillingness to show mercy, driven by his fear of seeming weak, reveals the extent of his distorted mindset.   Mia Waldron delivers a nuanced and sympathetic performance as Mary Warren, Proctor’s wavering servant and one of the play’s most tragic figures. Torn between her conscience and her overwhelming fear, Mary’s internal struggle is written across Waldron’s face in every scene. She plays Mary’s fragile courage with sincerity, displaying glimmers of strength before crumbling under the crushing weight of intimidation. Her pivotal courtroom scene is agonising to watch, as she struggles to speak the truth, only to be overpowered by Abigail’s manipulations and the mob mentality she so desperately tried to avoid. The ensemble of girls enhances this sense of hysteria with their bizarre, synchronised movements, creating an almost supernatural effect. Their "possessed" sequences are chilling—watching them convulse, scream, and contort their bodies had the entire audience shifting in discomfort.   Craig Kocinski as Giles Corey provides a rare but much-needed touch of humour; his tenacious and endearing nature makes him a standout in every scene he appears in. When tragedy befalls his character, it is all the more devastating because of how much warmth he brought to the stage earlier on. His defiance in the face of oppression is profoundly stirring, and his tragic fate lands with full force. "More weight."  The line hits like a punch to the gut. Even with limited stage time, Isabel Laver as Tituba (Parris' Barbadian slave) leaves a lasting impression. Her emotional turmoil as she is forced into a confession she does not fully understand is gut-wrenching. Laver captures Tituba’s fear and desperation with remarkable skill, her pleading eyes and trembling voice making it impossible not to empathise with her. Her interrogation scene is a standout moment of Act One—her growing panic giving way to reluctant compliance as she realises that playing along is her best chance at survival. Act Two transforms the play into a gripping courtroom drama with the audience audibly reacting as the characters continue to dig themselves deeper into delusion. At one point, I noticed I was physically tense, shoulders hunched, barely breathing as I waited for the inevitable moment when everything crashes down. This is storytelling at its most immersive. A particularly raw and gut-wrenching moment is John Proctor’s attempt to expose Abigail, confessing his own sins in the process. The intensity of this scene is only matched by the emotionally charged finale, where Dominic Bradley and Olivia French conjure real tears, their performances elevated by a powerful musical underscore that heightens the devastation.   By the time the final moments played out, I felt utterly drained. This production is harrowing, relentless, and unforgettable. The religious themes and mass hysteria are deeply unsettling, serving as a stark reminder of how easily fear can warp justice and lead people to destroy one another in the name of righteousness. Sitting in the audience, you could feel the collective frustration—the audible gasps and sighs of exasperation one injustice after another unfolded before us. Yet, in the final moments, as Proctor makes his tragic decision, there is only silence—the type of silence that indicates a theatre wholly captivated. The dialogue flows naturally, and the direction maintains a gripping pace. Director Hunter Wall not only leads this production but also designed the set, lighting, sound, and costumes, crafting an environment that feels both authentic and suffocating. The wooden-slated stage and dim oil lamps transport the audience straight into Salem’s grim reality. Fog and plunging darkness heighten the most tense scenes. Costumes, sourced from Javeenbah Theatre and Spotlight Theatre, are layered and modest. Women wear hair wraps, while the young girls’ loose hair visually unifies them as a collective force. Accents, coached by Stuart Lumsden, are impressively consistent, with Moss and Bradley’s dialects particularly standout. The set is beautifully minimalist, evoking the stark, oppressive nature of a 17th-century Puritan village. Wooden chairs, tables, and a single bed frame make up the bulk of the staging, allowing the raw intensity of the performances to take centre stage. Adding to the atmosphere, delicate flakes—snow or ash?—drift down occasionally, an ominous visual reminder of the cold, merciless world we’re stepping into. Sound design is another triumph, operated by Jacinta Hunter. Subtle yet ever-present, it creeps beneath the surface with unsettling undertones, eerie chanting, and musical elements. Lighting, too, is stark yet striking, casting haunting shadows that deepen the sense of unease. With no microphones in use, strong projection is essential, and every actor delivers with impressive clarity—none more so than Dominic Bradley as John Proctor, whose commanding presence dominates the stage. I couldn't have wished for a better introduction to ' The Crucible ' (I know I'm late to the party). Each lead performance crackles with intensity, every design choice deepens the immersion, and the direction ensures that every scene hits with full force. Despite its length, ' The Crucible ' remains one of the most captivating productions I've seen in recent memory. Yes, the final stretch drags a bit, but this production pulls you in and refuses to let go. Just a piece of advice: familiarise yourself with the play beforehand if you're not acquainted with it. Take note of the trigger warnings. And brace yourself—because ' The Crucible ' is not just a play. It's an experience. Now playing until 22nd February: Tickets available here

Experiencing BG Performing Arts' production of ' Legally Blonde JR. ' felt like diving into a world bursting with pink, fun, and nonstop energy. With a strong creative team led by director Sam Caruana, choreographer Bella Gordon (who impressively worked her magic while in a moonboot!), and music director Kate Baxter, I knew I was in for a great time. What I didn’t expect was just how downright wonderful, polished, and hilarious this junior production would be. From powerhouse vocals and comedic timing to incredible dance numbers, this cast absolutely nailed it. Legally Blonde  is a high-energy, feel-good musical based on the beloved 2001 film. It follows Elle Woods, a pink-loving, perky sorority queen whose world is turned upside down when her boyfriend, Warner, dumps her for someone “more serious.” Determined to win him back, Elle trades Malibu for Harvard Law School, only to discover she’s far more capable than anyone—including herself—ever gave her credit for. With the help of her quirky new friends and her unshakable optimism, Elle proves that being true to yourself never goes out of style. The show burst to life with ' Omigod You Guys' , and oh my god, those Delta Nu sisters were on fire! Talk about extra—they had the energy of an entire cheer squad (no exaggeration) even after already performing a show that same day. Pilar (Mabel Tamone), Margot (Holly Anderson), and Serena (Jemma O’Donnell) were a total riot, with Holly standing out so much that she scored the well-deserved 'Rising Star' award at the end. I also loved how the sorority girls entered through the audience, immediately pulling us into their vibrant world. At the heart of it all was Raine Barr as Elle Woods. Talk about star quality! Raine embodied Elle's signature perkiness while delivering stunning vocal performances with effortless control. Her belting abilities in ' So Much Better'  was a showstopper, and I was genuinely blown away by how she made such a notoriously difficult vocal role look easy. She also managed an impressive number of costume changes. I lost track of the number of fabulous outfits she pulled off—each one cuter than the last.   Zander Hutson as Emmett Forrest brought warmth and sincerity to his role, with a lovely voice that shone in ' Chip on My Shoulder' . His chemistry with Raine felt genuine and sweet, particularly during their duet ' Legally Blonde' . And then there was Ebony Baird as Paulette—oh my gosh, what a voice! I am so glad 'Ireland' is included in the junior version, albeit with the lyrics altered. Her comedic timing was gold in ' Bend and Snap' and her scenes with Hamish Treweeke as Kyle (aka the UPS guy) were golden. Hamish's 15 seconds of fame were everything—he owned that stage for as long as he could. Warner Huntington III was brought to life by Jack Grey, who nailed the suave (but shallow) boyfriend vibe, complete with a silky smooth voice in ' Serious' . Chloe Mortimer’s portrayal of Brooke Wyndham was a masterclass in stamina and skill as she sang and skipped rope during ' Whipped Into Shape' . And the dancers in that number? Absolute killers—pun intended.   Ben Smith as Professor Callahan exuded authority so convincingly that I almost forgot he was a teenager and not an actual Harvard professor. Rose Hancock as Vivienne Kensington delivered top-tier vocals that blew the roof off in her few but impactful moments—her belt is absolutely incredible. Erin Hung as Enid Hoopes was utterly convincing and fully committed to her role. Minnie O’Rourke as Chutney was deliciously dramatic, and William Piper as Dewey, complete with his epic mullet wig, had the audience cracking up. And I can't forget Bruiser/Rufus, the furry star of the show, who was a hit every time they appeared on stage.   The ensemble was fully committed from start to finish, acting even when they knew the focus wasn’t directly on them (though I was definitely watching!). In the big numbers ' What You Want'  and ' Positive' , their high-energy choreography was matched by strong vocals—a tough feat they pulled off well.   The set was vibrant and full of pinks, using levels cleverly to accommodate the large cast. The back curtains kept the action downstage for more intimate scenes, which worked beautifully. The costumes remained true to the characters, with all of Elle's outfits being flattering and perfectly on-brand for her. One of my absolute favourite moments was the 'Ireland Reprise' —I'm completely obsessed. And seeing the entire cast decked out in pink for the ' Legally Blonde Reprise'  was pure joy. The Delta Nu trio was undoubtedly the glue that held the show together, and their performances were consistently strong, hilarious, and captivating. BG Performing Arts’ ' Legally Blonde JR.'  was an absolute blast—funny, heartwarming, and packed with talent. The cast's passion was infectious, and I left with a huge smile on my face. What more could you want?

Attending RMT Youth and Roar Academy's production of Mary Poppins Junior  was like stepping into a spoonful of sugar—sweet, uplifting, and full of youthful energy. This beloved tale of magic and mischief was brought to life by a talented cast of young performers who poured their hearts into every moment. I was lucky enough to witness both casts perform, which gave me a greater appreciation for the unique interpretations each group brought to their characters. Even though they had to squeeze such a big story into a junior-sized package, the show kept up its sprightly pace, and the magic never flew away with the wind. For those who may have been living under a rock, ' Mary Poppins the Musical' brings fresh layers to the beloved 1964 film. While the heart of the story remains—Mary Poppins flies into Cherry Tree Lane to bring order and magic to the Banks family—there are notable differences. Mrs. Banks struggles to find her place in high society rather than as a suffragette, and Mr. Banks' stern outlook is shaped by his own strict childhood nanny, Miss Andrew, who makes an unexpected return. Jane and Michael are much more defiant than their film counterparts. Plus, with new songs the stage adaptation adds fresh magic to this timeless tale. Taking on the iconic role of Mary Poppins is no small task—practically perfect is a high standard to meet! But both Zoe Hitchcock and Tamsyn Doyle rose to the occasion with grace. Zoe’s vocals were a delight, particularly in ' Feed the Birds'  and ' Practically Perfect' . Meanwhile, Tamsyn’s voice was warm and expressive in ' Chim Chim Cheree'  and ' Anything Can Happen' . Both actresses mastered Mary’s signature poise, wit, and cheek while handling a role that keeps them on stage almost constantly. Jane Banks is a feisty little spitfire, and both actresses who played her nailed that spark. Saana Chang looked like she’d walked straight out of the storybook, delivering Jane’s sass with confidence and showcasing a stunning singing voice. Beyond her solo work, Saana’s dance skills—when she wasn’t playing Jane—were equally impressive. Alessia Monteverde, having previously played the role, was also a natural as Jane. Her gorgeous singing voice and assured stage presence shone through and her bond with Michael (played by Felix Jordan) was particularly sweet. She subtly guided him throughout, ensuring he always knew where to be in a way that felt like true sibling support. Speaking of Michael—the other actor, Riordan Francis, looked dapper in his suit, delivering his lines with comedic timing well beyond his years. Both his and Felix's natural humour made some of the funniest moments in the show shine. Toby Bailey was excellent as Bert. His Cockney accent, expressive gestures, and confident stage presence made him a charismatic narrator, guiding us through the whimsical twists and turns of the tale. His physicality was particularly impressive—after all, you don’t want a Bert who stands still while delivering his lines! Plus, Toby doubled up as Von Hussler, who was equally entertaining, with over-the-top theatrics that had the audience in stitches. The Banks family dynamics were beautifully played. Ruby Marriott and Mia Dacey were both wonderful as Winifred Banks. They looked the part with elegant period-appropriate costumes and hairstyles, and despite being teenagers, they gracefully embodied the role of a mother with sweet singing voices and poised performances. Their elegant costumes and composed stage presence made them entirely believable. Joshua Darcey’s George Banks was equally solid—he carried himself with authority but knew when to let the cracks show in his character’s journey. Then, of course, there was Miss Andrew—the terrifying opposite of Mary Poppins. Zahlee Brackstone and Tylah-Jay Foster made sure this strict disciplinarian left her mark. Tylah-Jay’s ' Brimstone and Treacle' in particular was a showstopper, demonstrating her impressive vocal control and commanding stage presence. She’s someone I can absolutely imagine taking on this role in a full-scale production. Among the other featured roles, Lauren Gittins and Emily Winwood brought a memorable dramatic flair to Mrs. Corry, while Layla Al Samaraie and Zola Bulan gave lovely performances as the Bird Woman. Zola, in particular, delivered ' Feed the Birds'  with a haunting beauty. Tyler Haynes and Riordan Francis were a scene-stealers as Robertson Ay, milking every moment for laughs. The set design was simple but effective, using projections, twinkling star lights, and moving set pieces to create the illusion of London. The tricks with Mary’s carpet bag and the kite were cleverly executed, adding a touch of theatre magic to the experience. While this production couldn't include the iconic Mary Poppins flight, the use of projections kept the illusion intact. Choreographically, the production was bursting with energy. ' Step in Time'  was a tap-dancing, tumbling-filled highlight, while ' Supercalifragilisticexpialidocious'  featured the original complex choreography that even the youngest cast members tackled with enthusiasm and mastered. The youngest cast members, dressed as bees during ' A Spoonful of Sugar',  were particularly adorable—earning their fair share of “aww” moments from the audience. The technical aspects were well-managed, with clear sound, effective lighting, and costumes that perfectly suited the time period. Special mention to music maestro Rhonda Davidson-Irwin for crafting vocal magic in 'Anything Can Happen' and 'Let’s Go Fly a Kite,' with the powerful voices of the entire ensemble. The direction by Madeleine Johns was well thought out, but it was clear that some cast members were more focused on making sure they were in the right spots for scenes rather than fully immersing themselves in the moment. There were also a few lulls due to forgotten lines, but considering the complexity of the show and the young age of the performers, these were completely understandable and didn’t detract from the overall experience. In short, 'Mary Poppins Junior' was a smash! The cast and crew's passion and meticulous preparation brought this classic tale to life with warmth and enchantment. Roar Academy has once again proven its ability to cultivate young talent, and they left me feeling inspired and uplifted. Mary Poppins:  Tamsyn Doyle / Zoe Hitchcock Bert:  Toby Bailey George Banks:  Joshua Darcey Winifred Banks:  Ruby Marriott / Mia Dacey Jane Banks:  Alessia Monteverde / Saana Chang Michael Banks:  Felix Jordan / Riordan Francis Miss Andrew:  Tylah-Jay Foster / Zahlee Brackstone Bird Woman:  Layla Al Samaraie / Zola Bulan Mrs. Corry:  Emily Winwood / Lauren Gittins Mrs. Brill:  Eleanor Bailey / Zoe George Robertson Ay:  Riordan Francis / Tyler Haynes Director / Producer:  Madeleine Johns Musical Director:  Rhonda Davidson-Irwin Vocal Coach:  Anthony Van Stam Choreographer:  Meredith Johns and Mike Lapot

Title: Parade – The Musical Presented By: Bump In Productions Genre: Musical Theatre Synopsis: "Parade" is a powerful and emotionally charged musical by Jason Robert Brown and Alfred Uhry. Set in early 20th-century Georgia, it tells the true story of Leo Frank, a Jewish factory manager wrongly accused of the murder of a 13-year-old girl. The trial exposes the region's deep-seated antisemitism and systemic injustices, ultimately leading to tragic consequences. With a powerful score by Jason Robert Brown and a compelling book by Alfred Uhry, the musical serves as a haunting reflection on prejudice and justice. Audition Details: Audition Dates: Saturday, 3rd May 2025 Sunday, 4th May 2025 Audition Time: Individual audition slots (10-minute max) Audition Location and Address: The Rehearsal Room, Seven Hills Arts Hub, 28 Tallowwood St, Seven Hills, QLD 4170 Callbacks: Wednesday, 7th May 2025 Audition Registration: Register here by 29th April 2025 Audition Pack: Download Audition Pack Audition Requirements: Prepare two contrasting musical theatre songs (maximum 2 minutes each). One song must be performed in an American accent (Southern preferred; General American also acceptable). Songs should demonstrate both musical ability and narrative delivery. Cold reads from the script may be required on the audition day. A pianist will be provided or bring backing tracks if preferred. Movement call will only occur during callbacks. Production Information: Rehearsal Dates: Monday, 13th May 2025, to Sunday, 13th July 2025 Rehearsal Times: Tuesdays and Thursdays: 7:00 PM to 10:00 PM Sundays: 10:00 AM to 6:00 PM Performance Dates: 19th July – 3rd August 2025 Performance Location and Address: Ron Hurley Theatre, Seven Hills Arts Precinct Creative Team: Director: Johnny Peek Musical Director: Michael Keen Choreographer: Maureen Bowra Production Website: Bump In Productions Warnings: This production deals with themes of prejudice, racism, antisemitism, and capital punishment. Required Age: 16+ years Available Roles: Angela / Minola McKnight: African American maids in Georgia who represent Black sentiment in the South during the trial. They live in a segregated society and endure systemic racism. Gender: Female Playing Age: 18+ Vocal Range: Eb3-G5 Britt Craig / Young Soldier: A washed-up reporter who is often drunk and desperate for a big break. Also doubles as Young Soldier. Gender: Male Playing Age: 20-35 Vocal Range: Eb3-A4 Factory Girls (Essie & Lola): Young, playful workers at the National Pencil Factory. Gender: Female Playing Age: 14-25 Vocal Range: Eb4-D5 Frankie Epps: Mary Phagan's charming and devoted friend. Playful, flirtatious, and deeply affected by her death. Gender: Male Playing Age: 14-20 Vocal Range: Bb4 (mix/belt) Governor John Slaton: Governor of Georgia, concerned with public perception but strives to maintain his values. Flirtatious and fun, embodying Southern stereotypes. Also doubles as Mr. Peavey. Gender: Male Playing Age: 30-45 Vocal Range: Bb2-F4 Hugh Dorsey: Atlanta's District Attorney. A devout Christian who is manipulative and often brutal in his pursuit of political success and recognition. Gender: Male Playing Age: 35-45 Vocal Range: B2-F4 Jim Conley: An African American cleaning supervisor at the National Pencil Factory who is secretly a convict on the run. A showman with a strong build. Gender: Male Playing Age: 20-30 Vocal Range: D3-Bb4 (mix/falsetto) Judge Roan: The presiding judge of Leo Frank's trial. Motivated by bigotry and racism, he is deeply committed to Confederate ideals. Also doubles as Old Soldier. Gender: Male Playing Age: 60-70 Vocal Range: B2-D4 Leo Frank: A nervous, introverted Jewish factory superintendent from Brooklyn. He is intelligent, principled, and earnest but struggles to connect with the Southern community he now resides in. Gender: Male Playing Age: 25-35 Vocal Range: High baritone/tenor (B2 to F4) Lucille Frank: Leo's strong, determined, and compassionate wife. A Southern Jewish woman who evolves from a supportive spouse to a courageous advocate fighting for justice and her husband's innocence. Gender: Female Playing Age: 25-35 Vocal Range: Mezzo-soprano (F3 to D5) Mary Phagan: A young factory worker at the National Pencil Factory who is murdered. Innocent, with moments of sassiness and playfulness. Gender: Female Playing Age: 13 Vocal Range: Eb4-D5 Newt Lee: An African American night watchman at the National Pencil Factory. Gentle and kind-hearted, though a bit too old for the job. Also doubles as Riley. Gender: Male Playing Age: 40-60 Vocal Range: Bb2-Db4 Sally Slaton / Mrs. Phagan: Wife of Governor Slaton and also portrays Mary Phagan's mother, a factory worker who testifies against Leo Frank. Gender: Female Playing Age: 20-40 Vocal Range: G3-Eb5 Tom Watson: A conservative politician and publisher who fuels the witch hunt against Leo Frank. Also doubles as Officer Starnes. Gender: Male Playing Age: 30-50 Vocal Range: Bb2-Db4 Other Information: Producers Note: The producers and creative team of "Parade" are dedicated to promoting diversity and inclusivity throughout the casting, rehearsal, and production processes. This production is based on a true story, and character requirements reflect its historical context. Representative casting is prioritised for Leo Frank, Lucille Frank, Jim Conley, Newt Lee, and Minola McKnight. Bump In Productions is committed to authentic representation by casting BIPOC actors in these roles. Casting Note: The roles of Leo and Lucille Frank will be played at evening performances by Michael Lewis and Belinda Morris. We are casting alternate performers as understudies for the two leads, who will also perform the roles Saturday matinees. All cast and creatives must be eligible for or willing to apply for a Blue Card.

Title: Calendar Girls Presented By: North Brisbane Theatre Company Genre: Comedy-Drama Play Synopsis: When Annie's husband John dies of leukaemia, she and best friend Chris resolve to raise money for a new settee in the local hospital waiting room. They persuade four fellow Women's Institute (WI) members to pose nude for an "alternative" calendar, with the help of hospital porter and amateur photographer Lawrence. As their venture gains unexpected fame, the women's lives are turned upside down, and friendships are tested in heartwarming and hilarious ways. Based on a true story, Calendar Girls is a powerful and funny play that celebrates friendship, resilience, and community spirit. Audition Date: Sunday 6 April 2025 Audition Time: 1:00 pm Audition Location and Address: Burpengary State Secondary College Audition Requirements: Prepare a 1–2-minute monologue performed in a general English accent. Cold readings from the script will also be part of the audition process. Audition Registration: Register Here Available Roles: CHRIS (50s): Outgoing and confident, Chris thrives in the spotlight. She brings energy and fun to any group and has a mischievous, adventurous spirit. ANNIE (50s): Compassionate and grounded, Annie balances Chris's boisterous nature. She is thoughtful, with a mischievous streak when encouraged. CORA (40s): Resilient and witty, Cora has faced challenges with strength and humour. She must be able to sing confidently and, ideally, play basic piano chords. JESSIE (late 60s/70s): Brave and bold, Jessie is a retired teacher with a fierce spirit. She is opinionated, grammar-conscious, and full of life. CELIA (35-50): Stylish and confident, Celia appears glamorous but has a rebellious side that sets her apart from materialistic peers. RUTH (40s): Initially timid and eager to please, Ruth transforms into a confident, self-assured woman throughout the play. MARIE (50s): Controlling and defensive, Marie hides vulnerability beneath her structured, trophy-driven exterior. JOHN (50s): A kind-hearted and positive man who brings warmth and light to those around him. ROD (50s): Chris's husband, who has a dry sense of humour and a deep bond with her despite her fiery nature. LAWRENCE (late 20s): A shy but spirited photographer who helps the WI women with their daring calendar shoot. LADY CRAVENSHIRE (60s): A well-meaning but patronising woman from a higher social class. ELAINE (20s): A patronising young woman who unintentionally comes across as dismissive. LIAM (late 20s): A professional photographer with a patient but resigned demeanour. Performance Dates: 4 July 2025 – 7:30 pm 5 July 2025 – 2:00 pm & 7:30 pm 6 July 2025 – 2:00 pm 11 July 2025 – 7:30 pm 12 July 2025 – 2:00 pm & 7:30 pm 13 July 2025 – 2:00 pm Performance Location: Burpengary State Secondary College Rehearsal Dates: Tuesdays & Thursdays: 6:00 pm – 9:00 pm Sundays: 1:00 pm – 4:00 pm Rehearsal Location: Burpengary State Secondary College Warnings: This production contains partial nudity and mature themes. Participants must be 18 years or older. UNPAID COMMUNITY THEATRE Other Information: Additional crew roles are available for those interested.

Title: Grand Horizons Presented By: Nash Theatre Genre: Contemporary Comedy Synopsis: Fifty years into her marriage to Bill, Nancy unexpectedly announces that she wants a divorce. While Bill appears unfazed, their two adult sons are shaken to their core, forced to confront everything they believed about their parents' seemingly happy lives. As the family navigates this seismic shift, each member must reckon with their own imperfect past and discover new, unexpected ways to express love. Audition Date: Sunday, 23 February 2025 Audition Time: 2:00 PM Audition Location and Address: New Farm Nash Theatre Play Shed, 4 Amity Street, New Farm Audition Requirements: Cold read of excerpts from the script Good comedic timing Must be capable of playing above your age Available Roles: Nancy (70+ years) Bill (70+ years) Ben (Son, 40-45 years) Brian (Son, 35-40 years) Jess (Daughter-in-law, 30-35 years) Tommy (One-night stand, 25-30 years) Carla (Girlfriend, 65-70 years) Performance Dates: 9-31 May 2025 Performance Location: The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm Production Website: Nash Theatre Website Other Information: For additional enquiries, contact Director Phil Carney at 0418 719 300.

Title: The Trail to Oregon! Presented By: Emma Hanson Genre: Musical Comedy Synopsis: Join an all-American family as they embark on a journey down The Oregon Trail. Full of hilarity, historical figures, and unexpected twists, The Trail to Oregon! is a delightfully irreverent musical featuring educational songs and a historically accurate portrayal of the iconic trail adventure. Audition Dates: 27 March 2025 (Individual Auditions) 28 March 2025 (Individual Auditions & Dance Call at 3:30pm) 29 March 2025 (Individual Auditions & Dance Call at 3:30pm) 31 March 2025 (Callbacks) Audition Time: 15-minute individual sessions and a group dance call from 3:30 pm to 5:00 pm Audition Location and Address: Backbone, 28 Tallowwood Street, Seven Hills, QLD Audition Registration: Click Here to Book Audition Audition Pack: Monologues & Resources Audition Requirements: Individual Auditions: Prepare two songs (one musical theatre piece, preferably contemporary/modern, and one that highlights your comedic ability). Bring a CV and headshot. Participate in cold reads and improv exercises. Bring a backing track on a device compatible with Bluetooth or AUX. If your phone requires an adapter, please bring it along. Group Dance Call: Learn choreography for "Gone to Oregon" (mandatory) and "Speedrun" (optional but encouraged) from the provided video resources. Wear appropriate dance attire and shoes. Monologue Requirement: Select one from the provided document for acting. Available Roles: Father: Tenor, presenting as male. Overconfident and cheerful leader. Mother: Alto, presenting as female. Nurturing figure with a sassy side. Daughter: Mezzo-Soprano, presenting as female. Rebellious teenager. Son: Mezzo-Soprano, presenting as any gender. Ditzy 7-year-old with a curious spirit. Grandpa/Cletus Jones: Baritone with strong falsetto and country twang, presenting as male. Unhinged old man and dedicated bandit accomplice. The Bandit King ‘McDoon’: Baritone, presenting as any gender. Obliviously evil, gruff, and open about his sexuality. Ensemble Track (GENERAL STORE GUY, HORNY OX, LOBSTER): Baritone, presenting as any gender. Versatile performer for comedic roles. Performance Dates: Preview: 26 June 2025 (Matinee - Relaxed Performance) Show Dates: 26-28 June 2025 Performance Times: Thursday: 7:00 pm Friday/Saturday: 1:00 pm & 7:00 pm Performance Location: BackDock Arts, 103 Brunswick St, Fortitude Valley, QLD 4006 Rehearsal Dates: From 5 May 2025 Rehearsal Times: Mondays & Thursdays 4:00 pm - 9:00 pm Sat 14 June (Rehearsal & Headshots) Recommended Age: Open to 16+ Creative Team: Directed by Emma Hanson Production Website: Emma Hanson Website Other Information: Not all performers will be required at every rehearsal. Schedules will be designed to minimise time commitment. Please provide any personal or work-related conflicts in your audition application. If you have any questions or concerns about dates or requirements, please get in touch via Emma Hanson's website.

Title: Elvis Has Left the Building Presented By: Village Green Theatre Group Genre: Comedy Synopsis: It's December 20th, 1970, and Elvis Presley has vanished. Even his wily manager, "The Colonel," has no clue where he is. Desperate to pay off a secret debt, the Colonel embarks on a frantic quest to find an Elvis impersonator within 24 hours. Chaos, comedy, and mistaken identities ensue as the Colonel tries to pull off the impossible while dodging a nosy reporter and figuring out what happened to the real King of Rock and Roll. Audition Details: Audition Date: Sunday 6th April 2025 Audition Time: 12:00 pm - 3:00 pm (all auditionees must remain for the full 3 hours) Audition Location and Address: Performing Arts Centre (PAC) of Yarrabilba State Secondary College Audition Requirements: Group auditions with script excerpts provided for character interactions. Roscoe must prepare and perform an upbeat Elvis song of their choosing. Register for Your Audition Download Audition Pack Available Roles: The Colonel (Male, 40 - 60) – Elvis’ Manager: An older gentleman with a big personality who is charming and cunning. American southern accent required. Lead role on stage for most of the play. Trudy (Female, 30 - 45) – The Colonel's German Secretary: Highly capable, speaks with a German accent, and requires great comic timing. Roscoe / Elvis (Male, 20 - 25): A nerdish office worker hypnotised by the Colonel into believing he is Elvis and occasionally a dog. Requires excellent comic timing and the ability to switch between multiple personas. Must lip-sync a medley of Elvis songs. Candy / Elvis (Male, 30 - 45): A friend of the Colonel hypnotised into believing he is Elvis. Must switch between characters quickly. Opens the play dressed as Elvis. Jill Tanner (Female, 20 - 30): A determined, nosy newspaper reporter seeking a big "Elvis" scoop. Performance Dates and Times: Friday 4th July at 7:30 pm Saturday 5th July at 2:00 pm & 7:30 pm Friday 11th July at 7:30 pm Saturday 12th July at 2:00 pm & 7:30 pm Performance Location: Performing Arts Centre, Yarrabilba State Secondary College Rehearsal Dates: Tuesday and Thursday evenings: 7:30 pm - 9:30 pm Sundays: 12:00 pm - 4:00 pm Creative Team: Director: Nicolette McMahon Stage Manager: Stephen Morris Set/Technical Design: Stephen Morris Lighting: Andrew Swansson Production Website: VGTG Auditions Page Other Information: Successful cast members must become members of Village Green Theatre Group at a cost of $25 per adult. Membership includes Public Liability Insurance. Parking available near the Sports Hall.

Title: Eurobeat: Moldova 2025 Presented By: KSP Theatre Genre: Interactive Musical Comedy Synopsis: Welcome to Moldova, a proud but small Eastern European country defying all odds (and common sense) to host this year’s Eurovision Song Contest. As ten nations battle it out for the ultimate prize, the host nation promises a spectacular and hilarious entertainment extravaganza. With audience votes deciding the winner, Eurobeat: Moldova delivers thrilling new songs, show-stopping numbers, and irresistible fun, capturing the chaos and glitz of Eurovision. Audition Date: Sunday, 2nd March 2025 Audition Time: 6:00 pm Audition Location and Address: KSP Theatre Audition Requirements: Vocal roles: Perform a song from the real Eurovision, focusing on performance as well as vocals. Costumes and dance routines are encouraged. Please bring backing tracks on a phone, iPad, or tablet for Bluetooth connection. Dance roles: A prepared dance number will be taught during the audition to assess movement capabilities. All cast members will be required to do some dancing. Available Roles: Contestants from Sweden, Ireland, Morocco, Spain, UK, Italy, Poland, Vatican City, Norway, and the Netherlands MC and Assistant roles Audition Registration: Register Here Audition Pack: View Here Performance Dates: Friday 16th May 2025 at 7:30 pm Saturday 17th May 2025 at 7:30 pm Sunday 18th May 2025 at 2:30 pm Friday 23rd May 2025 at 7:30 pm Saturday 24th May 2025 at 7:30 pm Sunday 25th May 2025 at 2:30 pm Friday 30th May 2025 at 7:30 pm Saturday 31st May 2025 at 7:30 pm Performance Location: KSP Theatre Rehearsal Dates: Tuesdays: 7:15 pm - 10:30 pm Thursdays: 7:15 pm - 10:30 pm Sundays: 4:00 pm - 9:00 pm Rehearsal times are subject to change based on the schedule. Creative Team: Director/Producer: Janelle Kerr Choreographers: Alarna Harris & Chantelle Currie (with the possibility of a Special Guest Choreographer) Technical Co-ordinator: Russell Jensen Other Information: Must be aged 16 or above to audition Must become a financial member of KSP Theatre ($10 per person for this production) This is a vocally and visually demanding show requiring commitment and hard work. For questions or concerns, please contact Janelle at ksptheatreinc@gmail.com