Presented by: 24 Hour Musical Project Venue: Hillbrook Theatre, Enoggera Attended: 13 April 2025 Foundation Director: Miranda Selwood Director: Timothy Wynn Assistant Director: Hayley Gervais Musical Director: Sally Faint Assistant Musical Directors: Jacob Cavanough and Hayley Marsh Choreographer: Hannah Crowther Assistant Choreographer: Grace Clarke Lighting Designer: Jason Gardner Sound Designer: Ben Murray Costume Designers: Michelle Peloe, Carly Quinn and Alexander Ellem What do you get when you combine over 120 creatives, 24 hours, a musical most people have never heard of, and a whole lot of chaos, caffeine, and community spirit? The answer is 24 Hour Musical Project. And what a glorious, hilarious, and heartwarming mess it was! After a pandemic pause, this much-loved annual event made its triumphant return under the direction of Miranda Selwood and the new 24HMP Foundation Ltd., with Timothy Wynn at the helm as director. Hayley Gervais supported as assistant director, while musical direction was fearlessly led by Sally Faint, with Jacob Cavanough and Hayley Marsh assisting. The lively choreography was courtesy of Hannah Crowther, assisted by Grace Clarke. Allow me to clarify, as some of my non-theatre friends thought I was watching musicals continuously for 24 hours (can you imagine?). The real challenge is to completely produce and perform a full-scale musical within just 24 hours, from the moment the show is announced to the final curtain call. But the purpose goes beyond that. This project seeks to unite as many performers, creatives, musicians, and volunteers as possible from across South-East Queensland, all working towards one extraordinary goal. I spotted many familiar faces from performances I've reviewed, productions I've participated in, and even from the last 24 Hour Musical I attended before COVID (Starlight Express, anyone?!). The twist? No one knows what show they’re doing when they sign up. The audition process is blind. Performers don't know what they’re auditioning for, and the creative team casts the show without revealing roles. A shortlist of potential musicals is teased (thankfully Cats got yeeted early), and the cast only find out the show and their role at 6pm Saturday. The final shortlist had come down to Oklahoma! and The Pajama Game, and I, for one, was relieved when the lesser-known show won out. Without audience nostalgia clouding things, the performers could let the show’s quirky merits shine. Rehearsals run through the night, with some snatched naps, a whole lot of snacks and coffee, and 24 hours later… at 6pm Sunday, it’s showtime! There’s only one performance (because, hello, they need to sleep), and it always sells out, so get in early next time! Based on the novel 7½ Cents by Richard Bissell, this musical is a toe-tapping romp through a pajama factory, exploring the tensions between management and labour, all while a romance blossoms between the fiery union leader (Babe) and the dashing new superintendent (Sid). Think Guys and Dolls energy meets union strikes and gender politics. This musical is from the 1950s, which means... it's long. Act 1 alone clocked in at over 90 minutes! The cast and orchestra had to learn a huge amount of material (vocally, musically, and choreographically) and I applaud them. I’d be far too delirious, grumpy, or hyper (possibly all three) to retain new songs at 4am, yet somehow, they did it. Let’s take a moment to acknowledge the sheer size of this beast too: a cast of 30 and an orchestra of 20 (all volunteers) all saying “yes” to a mystery show and willingly sacrificing sleep, sanity, and personal space for a day of madness. Why? Because they’re legends, obviously. Featuring some of South-East Queensland’s brightest musical theatre talents, every role was well-cast and each performer clearly handpicked for their comedic strengths and vocal chops. Yes, I knew most of the cast. And yes, I'm biased. But also? They were phenomenal no lie. Jacob Ballard was a perfectly cast Sid, his smooth Bublé vocals and confident stage presence anchoring the show. His three songs in Act 1 alone were a feast for the ears, and his chemistry with Kat Suschinsky's Babe made their duet “There Once Was a Man” an absolute highlight. Kat brought sass, strength, and beauty to the role of Babe, and her rendition of “Hey There” in Act 2 was sincerely moving. Ruby Thompson as Gladys was the standout for me. She was a triple-threat tornado of charisma, comedy, and dance skills — particularly in the iconic “Steam Heat”, which was simultaneously slick, sharp, and cheeky. Not only that but she has a gorgeous voice, as showcased in "Hernando's Hideaway". Aaron Anderson was a comedic firecracker as Prez. His sleazy charm was delivered in spades, alongside excellent vocals as he led “Her Is” and the unforgettable “7½ Cents”. Samantha Sherrin brought effortless hilarity as Mabel, shining in her duet “I’ll Never Be Jealous Again” with the always-fabulous Tristan Vanyai as the high-strung, knife-throwing Hines, who led the elaborate number “Think of the Time I Save.” The supporting cast were a joy: Stacie Hobbs as Mae felt so at home in the role I had to wonder if she’d done this show before; Michael Enright made an adorably memorable Poopsie (yes, that is the character's name...); Russell Morgan had gravitas and great comedic timing as the blustering Hasler; and Luke O’Hagan brought delightful eccentricity as Babe’s stamp-collecting dad. A special shoutout to Lachlan Dodd, the stealthiest cast member of all, who voiced Sid’s inner monologue during “Hey There”. This male duet was sung beautifully by Lachlan and Jacob's angelic voices, with Lachie hiding behind a set piece for many many scenes... The ensemble work was smartly divided — a strategic decision, no doubt, to help ease the cognitive load. They nailed (to an extent) the challenging layered vocals in numbers like “Racing With the Clock”, and pulled off some surprisingly polished choreography in ensemble pieces like “Once-a-Year Day” and “I’m Not at All in Love”. And let’s talk about that choreography. With less than a day to learn, clean, and execute multiple full-company numbers, the dancing was genuinely impressive. By the final curtain, with the cast donning vibrant pajamas, it felt almost poetic that a show set in the ‘Sleep Tite’ factory ended with everyone mercifully getting ready to sleep tight themselves, many of whom looked just seconds away from collapsing into an actual nap (Zach...) Part of the joy of a 24 Hour Musical is expecting the slip-ups, and the cast did not disappoint, in the best way. Spotlights wandered, entrances were missed (Aaron) or mistimed (Russell), and props had a mind of their own, but it was all handled with the kind of good-natured improv and professionalism that proves these performers are top-tier. Whether it was a not-so-subtle glance at the teleprompter (a true unsung hero) or a quick cover for a rogue prop, it only added to the charm. Special shoutout to MD Sally Faint, literally mouthing all the song lyrics from the orchestra like a musical guardian angel. The production team also deserves massive applause. The set had the orchestra elevated behind a giant “Sleep Tite” window, flanked by sewing tables and fabric racks. Props were entirely cardboard (genius), and the hand-drawn backdrops did the job. Lighting by Jason Gardner and sound by Ben Murray were smooth and effective, even with the frantic pace. Costumes by Michelle Peloe, Carly Quinn, and Alexander Ellem were colourful and delightfully vintage, especially the finale’s pink and yellow PJs, a sweet nod to 24HMP’s brand colours. They also had those classic bouncy 50s hair curls, and I am genuinely baffled by how they found time to pull that off. Respect. Despite the inevitable exhaustion, the energy was electric. What they lacked in rehearsal time they made up for in sheer guts, caffeine, and group chemistry. The cast may have been running on adrenaline and sugar (Kat’s bright blue tongue in the finale was all the proof we needed), but they poured every ounce of love, talent, and humour into the show. And the audience felt like part of the ensemble. My cheeks genuinely hurt from laughing so much. It was one of the most supportive, joy-filled theatres I’ve sat in all year. Beyond the fun and frenzied energy, the heart of this project lies in community. In a time where many companies struggle with resources, burnout, or disconnection, this project actively fosters cross-company collaboration and trust. It’s not just theatre. It’s therapy, teamwork, and a celebration of what’s possible when creative people come together for something bigger than themselves. What truly blows my mind is the iron-clad structure behind the chaos. This isn’t just a group of people pulling something off on vibes alone. There’s clearly an enormous amount of pre-planning from the creative team, tech crew, volunteers, and everyone in between. Their meticulous prep work allows the performers to shine despite the lack of time. Honestly, I wish every community show was run like this. From the slick rehearsal scheduling, to the online raffle with genuinely awesome prizes, to the professional-quality program, there was a sense of care and forethought that felt beyond compare. If you’ve ever wondered what you’re capable of, or wanted to meet the people who make up Brisbane’s incredible theatre scene, I genuinely recommend throwing your hat in the ring next time. Whether to perform, play, volunteer, or just cheer from the audience, you will leave with a full heart. I ran a little Instagram poll and over 60 of my followers said they’d love to try the 24HMP challenge one day! Meanwhile, I’ll be cheering from the comfort of the audience, coffee in hand, watching the sleep-deprived chaos unfold with glee, laughing and cheering louder than ever. 24HMP… can I request Spamalot for next time? Visit this page to support the foundation

Title: Blackrock Presented By: Thrive Productions Genre: Drama / Contemporary Australian Theatre Synopsis: It’s Toby Ackland’s birthday party down near the surf club—and that should mean heaps of grog, drugs and good clean fun. But by the morning a young girl, Tracy, is dead—raped and bashed with a rock. Who is responsible? Blackrock is an intimate and strongly shaped human drama which examines the social forces behind the impulse to violence in individual lives. This powerful and confronting play tackles themes of toxic masculinity, peer pressure, consent, and accountability, with a focus on the ripple effects of violence within a community. Written By: Nick Enright Director: Susan O'Toole Cridland Audition Date: Wednesday 21st May 2025 Audition Time: 6:00pm Audition Location and Address: Chermside Library, Brisbane Audition Self-Tape Due (if applicable): Prior to 21st May – email to thriveproductions24@gmail.com Audition Requirements: Prepare a 1–2 minute monologue that you feel best showcases the character(s) you're auditioning for. Be prepared for cold reads from the script on the day. Audition Registration: Audition Form – Google Forms Please note: several roles have already been cast Available Roles: Cherie Milenko, 15 - Best friend of Tracy (the victim), she has a growing rage towards the community, towards the culture and towards her mum, Gladys. Rachel Ackland, 16 - Girlfriend of Jared (the confidant). She always seems to face the root of the problem, all the while re-evaluating her relationships with everyone, including her family. Toby Ackland, 18 - Facing the truth, and taking accountability for the events that happened at his own birthday, he will face the consequences. Tiffany, 21 - Girlfriend of Ricko (the culprit), is constantly the punching bag for his destructive behaviour, even though she is tough, there’s only so much someone can endure. Brett Ricketson (Ricko), 22 - Ricko is Jared’s best mate, almost a father figure to him, a Blackrock hero. He confides in Jared, but the truth of his actions is coming to light and his culpability for it is catching up, fast. Performance Dates: Thursday 26th September – 7:30pm Friday 27th September – 2:00pm & 7:30pm Thursday 3rd October – 7:30pm Friday 4th October – 2:00pm & 7:30pm Plus a High School Tour: Monday 15th – Friday 19th September 2025 (All cast must be fully available for tour week.) Performance Location: BackDock Arts, Fortitude Valley Rehearsal Dates: From late May Rehearsal Times: Wednesdays: 7:00pm – 10:00pm Saturdays: 10:00am – 4:00pm Warnings: Contains strong adult themes, violence, sexual assault references, drug and alcohol use, and coarse language. Required Age: Assume auditionees must be at least 18 years old (Confirm with Director) Other information: This is a profit-share production.

Title: The Wizard of Oz Presented By: Redcliffe Musical Theatre Genre: Musical Theatre Synopsis: In this beloved classic based on L. Frank Baum’s stories and the iconic MGM film, young Dorothy Gale is swept away by a tornado from her Kansas farm to the magical land of Oz. Joined by her loyal dog Toto and a trio of unforgettable companions — the Scarecrow, Tinman and Cowardly Lion — Dorothy sets off to meet the mysterious Wizard, hoping he can help her return home. Along the way, they must evade the Wicked Witch of the West and discover that the answers they seek may lie within themselves all along. Audition Dates: Saturday 17th May Sunday 18th May Wednesday 21st May (strictly for Lead Roles and Adult Ensemble) Audition Time: Specific time confirmed upon registration Audition Location and Address: THEATRE 102, 102 Anzac Avenue, Redcliffe Audition Requirements: All auditionees must register online via the Audition Registration Form Prepare the relevant audition song and dialogue as outlined in the Audition Pack Please wear comfortable clothing and dance shoes (if available). Munchkins (Ages 6–12) Learn and perform: Song: Ding Dong the Witch is Dead (Bars 112–143) Dance: Set piece taught on the day. Dialogue: Selected script excerpt provided at the workshop. Can attend a Pre-Audition Workshop on Saturday 10 May at Theatre 102. This is highly recommended for younger performers to gain confidence and become familiar with the material. RMT are looking for a minimum of 40 munchkins - creating two casts of at least 20 in each. Junior Ensemble (Under 16 years) Learn and perform: Song: Merry Old Land of Oz (Bars 37–68) Dance: Set piece taught on the day. Dialogue: Short monologue or scene provided on registration. Strong stage presence and movement ability desired. Adult Ensemble & Lead Roles (Ages 16+) Auditionees will participate in group dance auditions and perform vocal and dialogue pieces individually. Strong triple-threat performers are encouraged to audition for lead and featured ensemble roles. Please prepare: Song: Required vocal audition piece specific to the character you're auditioning for (see “Available Roles” below). Dialogue: A short dialogue scene (provided upon registration) or cold reading from the script. Dance: You may be asked to participate in a movement audition even if your role is not dance-heavy. Scheduling: Performance Dates: Friday 29 August at 7:30pm Saturday 30 August at 2:00pm & 7:30pm Sunday 31 August at 2:00pm Friday 5 September at 7:30pm Saturday 6 September at 2:00pm & 7:30pm Sunday 7 September at 2:00pm Performance Location: Redcliffe Entertainment Centre Rehearsal Dates: Commencing Sunday 1st June at Theatre 102 Redcliffe Rehearsal Times: Tuesdays and Wednesdays: Lead roles Sundays: Leads, Ensemble and Munchkins From July 14 onwards: Mid-week rehearsals added for full cast Required Ages: Munchkins: Under 13 Junior Ensemble: Under 16 Lead Roles & Adult Ensemble: 16+ (Dorothy may be considered from 13+) Creative Team: Producer/Director: Madeleine Johns Musical Director: Rhonda Davidson-Irwin Production Website: www.redcliffemusicaltheatre.com Other information: A free pre-audition workshop for Munchkins will be held Saturday 10th May at Theatre 102 Callbacks (if required) will be held Wednesday 28th May from 6:00pm and advised by Sunday 25th May RMT welcomes performers of all levels and backgrounds Rehearsals are frequent and attendance at all tech/dress/performance calls is mandatory All cast must be available for every performance Available Roles: Dorothy Gale Female – Stage Age 16 Vocal Range: G3–C5 (E5 optional) Our sweet yet spirited heroine. Innocent, strong-willed, kind-hearted, and full of wonder. Must carry the emotional core of the show. Audition Song: Somewhere Over the Rainbow Hunk / The Scarecrow Male – Stage Age 16–40 Vocal Range: Bb2–F#4 (Ab4 optional) Clumsy and endearing, with a desire to have a brain. Needs flexibility and strong physicality. Audition Song: If I Only Had a Brain (Bars 20–50) Hickory / The Tinman Male – Stage Age 16–40 Vocal Range: Bb2–G4 Warm, gentle and romantic under his shiny exterior. Tap skills highly regarded. Audition Song: If I Only Had a Heart (Bars 12–43) Zeke / The Cowardly Lion Male – Stage Age 16–40 Vocal Range: Bb2–F4 Big, loveable and hilarious. A scene-stealer. Strong comic timing essential. Audition Song: If I Only Had the Nerve (Bars 10–41) Aunt Em / Glinda Female – Stage Age 35+ Vocal Range: G3–C5 Kind, maternal and nurturing. Glinda brings warmth and poise to Oz. Audition Song: Come Out, Come Out (Bars 16–37) Uncle Henry / Oz Guard Male – Stage Age 40+ Vocal Range: Bb2–Eb4 Hardworking and no-nonsense in Kansas; comedic and sentimental as the bumbling palace guard. Audition Song: Merry Old Land of Oz (Bars 37–68) Almira Gulch / Wicked Witch of the West Female – Stage Age 40+ Non-Singing Role Harsh, vindictive and commanding. Requires strong character acting and vocal projection. Audition: Script reading Professor Marvel / The Wizard of Oz Male – Stage Age 50+ Non-Singing Role Warm, eccentric and slightly deceptive. Requires range in characterisation from showman to sage. Audition: Script reading Featured Characters & Ensembles Crows Trio – Male Vocal Range: B2–E4 / B2–B4 Comic character voices; will interact closely with the Scarecrow. Audition Song: If I Only Had a Brain (Bars 20–51) Trees Trio – Female Vocal Range: B3–C5 / B3–E5 Sassy, cheeky, and full of personality. Audition Songs: Ding Dong the Witch is Dead (Bars 112–143) You're Out of the Woods (Bars 72–97) Munchkins (Ages 6–12) Playful, energetic and full of joy. May also be considered for Flying Monkeys depending on ability. Audition Song: Ding Dong the Witch is Dead (Bars 112–143) Junior & Adult Ensemble (Ages 13+) Ozians, Poppies, Snowflakes, Winkies, Jitterbugs, Ghosts, Flying Monkeys Audition Song: Merry Old Land of Oz (Bars 37–68) Dance and acting ability required. Additional harmony singing and featured vocal lines may be assigned.

Title: The Lightning Thief: The Percy Jackson Musical (Theatre for Young Audiences Edition) Presented By: Beenleigh Theatre Group Genre: Musical Theatre / Youth Production Synopsis: When teenager Percy Jackson discovers he’s a demigod, he is thrust into a quest across the United States to find Zeus’ stolen lightning bolt and prevent an all-out war between the gods. Along the way, Percy must navigate monsters, prophecies, betrayal, and his own identity in this 70-minute high-energy, one-act adaptation of the Broadway hit. With a powerful message of self-acceptance and courage, this production is designed especially for young performers and audiences. Audition Date: 17 – 18 May 2025 Audition Times: 9:00AM - 5:00PM Audition Location and Address: Crete Street Theatre, 20–32 Crete Street, Beenleigh QLD Audition Requirements: Open to all performers aged 8 - 18. Applicants are encouraged to audition for any role they identify with, regardless of race, gender identity, ability, or background. Prepare a 90-second cut of a Disney song of your choice. Bring a backing track via phone or USB (aux cable and Apple dongle provided; bring any other required attachments). Prepare an acting “side” from the show. Found here (memorisation not necessary, but familiarity is encouraged). If auditioning for Percy Jackson, please learn the last 90 seconds of “Good Kid.” If auditioning for Annabeth, please learn “My Grand Plan.” Audition Registration: Register via Beenleigh Theatre Group Audition Pack: Download Here Performance Dates: 11 – 13 July 2025 Performance Location: Crete Street Theatre, Beenleigh Rehearsal Dates: Intensive Weekend: 31 May – 1 June Intensive Week 1: 30 June – 4 July Intensive Week 2: 7 – 11 July Rehearsal Times: 9am – 5pm daily (during the above dates) Required Age: Open to performers aged 8 to 18 Show Fee: $350 per performer (some scholarships available for families experiencing financial hardship) Creative Team: Director: Brooke Edwards Movement Director: Lachlan Boyes Vocal Director: Jade Enright Production Manager: Isabel Folland Scenographer: Michael Ware Production Website: beenleightheatregroup.com Other Information: Scripts, music, and choreography will be made available in advance to help performers prepare. This is a professional-style youth production working with industry creatives. Callbacks will be held Sunday evening, 18 May, if required. Not being called back does not mean you haven’t been cast. Available Roles: Percy Jackson – Lead; teenage son of Poseidon; pop-rock tenor; requires strong comedic timing and stamina. Annabeth – Lead; daughter of Athena; intelligent, confident; strong pop-rock belter. Grover – Comic support; satyr; sensitive and loyal; grounded and empathetic. Luke – Camp counsellor; cool and confident. Mr. Brunner/Chiron – Wise Latin teacher/centaur; baritone. Sally Jackson – Percy’s kind, wise mother; strong soprano. Clarisse – Tough, misunderstood daughter of Ares. Mr. D (Dionysus) – God of Wine and reluctant camp director. Ares – God of War; rock-star type. Mrs Dodds – A Fury disguised as a teacher. Minotaur – Creature; physical role. The Oracle – Hippie mummy prophet. Aunty Em (Medusa) – Sculptor with a deadly gaze. Gabe Ugliano – Percy’s gross stepfather. Thalia – Daughter of Zeus; brave and selfless. Poseidon – God of the Sea; laid-back beach bum vibe. Hades – God of the Dead; aging rock star. Kronos – Ominous voice of the ancient Titan. Charon – Ferryperson to the Underworld. Ensemble – Includes Furies, campers, monsters, gods, sculptures, and more.

Title: The Wishing Well Presented By: Play on Stage Genre: Children's Theatre Synopsis: Alma has never believed in wishes coming true—until she stumbles upon a mysterious Wishing Well in her local park. One wish turns into many, and soon Alma is caught up in a magical, unpredictable world where anything she desires could become real. The Wishing Well, written by Jack Barrett and Virag Dombay, is a whimsical and thought-provoking play that explores what happens when we’re given the freedom to wish without limits. Audition Date: Monday 12 May 2025 Audition Time: 5:30pm–6:00pm 6:00pm–6:30pm 6:30pm–7:00pm 7:00pm–7:30pm 7:30pm–8:00pm Note: First in, best dressed. Younger auditionees will be prioritised for earlier slots. Audition Location and Address: Play on Stage, 97 Fernberg Road, Paddington Audition Requirements: No preparation necessary. Auditionees will participate in drama games and perform cold reads from the script. Audition Registration: Email your expression of interest to director Virag Dombay at virag@playonstage.com.au Audition Pack: Click here to view the full audition pack (PDF) Available Roles: Alma – Aged 8–12 Creature – Aged 8–12 Elliot / Coin – Aged 7–9 Mum / Snail – Aged 9–14 Dad / Bucket – Aged 9–14 All characters are described as quirky and fun to play. Performance Dates: Monday 30 June 2025 Tuesday 1 July 2025 Wednesday 2 July 2025 Thursday 3 July 2025 Performance Times: 1:00pm daily Performance Location: The Briswest Centre, 132 Latrobe Terrace, Paddington Rehearsal Dates: Wednesdays: 14 May – 25 June Additional rehearsals on Mondays: 16, 23 June Final week rehearsals and performance calls from 30 June – 3 July Rehearsal Times: Wednesdays & some Mondays, 5:30pm–7:30pm Rehearsal Location: Play on Stage, 97 Fernberg Road, Paddington Required Age: Auditionees aged 7–14 Crew: Writer: Jack Barrett & Virag Dombay Director: Virag Dombay Production Website: https://www.playonstage.com.au/get-involved Other information: Performers will be paid according to the relevant Live Performance Award Rates for their age group during performance and call times. Rehearsals are unpaid (in-kind). Additional rehearsals may be added depending on venue availability in the final week.

Title: The Playground in the Sky Presented By: Play on Stage Genre: Children's Theatre / Drama Synopsis: Following its critically acclaimed 2024 premiere, The Playground in the Sky returns for a special season during the September school holidays. When floods ravage the streets of Brisbane, ten-year-old George must confront the loss of his home and sense of safety. In the midst of despair, he meets the vibrant and mysterious Melanie, who leads him to a floating playground in the sky. Here, George and the neighbourhood kids navigate recovery, resilience, and the power of imagination. It's a heartfelt tale of friendship, healing, and childhood wonder. Audition Date: Monday 2nd June 2025 Audition Time: Sessions available between 5:30pm and 8:00pm (30-minute slots, maximum 8 auditionees per session) Audition Location and Address: Play on Stage, 97 Fernberg Road, Paddington QLD Audition Requirements: No preparation required. Auditionees will participate in drama games and cold reads from the script. Younger participants will be prioritised for earlier timeslots. To register your interest, email director Virag Dombay at virag@playonstage.com.au Audition Pack: Available here Available Roles: George (Male, 10): Reserved, deeply affected by the floods. Melanie (Female, 10): Adventurous, mysterious, and outgoing. Samantha (Female, 15): George’s teenage sister, torn between social life and caring for her brother. Chaz (Male, 15): Awkward friend of Samantha, harbours a crush on her. Tilly (Female, 15): Bright, bubbly, obsessed with Taylor Swift. Bill (Any gender, 10): George’s kind but impulsive friend. Blake (Any gender, 10): Introverted, video game enthusiast. Ace (Any gender, 8–10): Bossy member of the four-square gang. King (Any gender, 10–12): Rival of Queen in the four-square gang. Queen (Any gender, 10–12): Rival of King in the four-square gang. Dunce (Any gender, 8–11): Ironically the smartest in the four-square gang. Tiger (Female, 5–8): Member of the Kitty Club, carries a stuffed tiger. (Small role) Lion (Female, 5–8): Kitty Club, carries a stuffed lion. (Small role) Leopard (Female, 5–8): Kitty Club, carries a stuffed leopard. (Small role) Note: Queen/Tilly and King/Chaz will be double cast. Other roles may be as well depending on availability. Performance Dates: Monday 22nd September (3:00pm performance; 2:00pm call time) Tuesday 23rd September (10:30am performance; 9:30am call time) Wednesday 24th September (10:30am performance; 9:30am call time) Thursday 25th September (10:30am performance; 9:30am call time) Performance Location: The Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills QLD Rehearsal Dates: Wednesdays from 23rd July through 17th September, with additional rehearsals in the final week. Rehearsal Times: Wednesdays, 5:30pm–7:30pm EKKA Holiday (13th August): 9:00am–1:00pm Final Week: Includes additional Monday and Friday sessions Warnings: Some roles involve portrayal of trauma from natural disasters. Required Age: 5–15 years old Production Website: www.playonstage.com.au/get-involved Other information: Payment will be in accordance with the Live Performance Award Rates based on performer age group. Rehearsals are considered in-kind (unpaid), while performance calls will be paid. Double casting will occur for some roles.

Love You Hate You Drive You Wild Presented by:  Minola Theatre and PIP Theatre "Niceness is ruining my life." As soon as you spot the giant moose head on the wall, it becomes clear this isn't a run-of-the-mill exploratory play about mental health. Love You Hate You Drive You Wild , brought to life by Minola Theatre and PIP Theatre, is a wild, tender, and emotionally charged rollercoaster through the beautiful mess that is Molly’s mind. Penned by Bianca Butler Reynolds (who also starred as Annika), this semi-autobiographical tale brims with humour, heart, and an astonishing depth of emotional realism. The protagonist, Molly (played with stunning vulnerability and nuance by Alisha O’Brien), is a painfully polite Canadian who moves to Australia in search of a fresh start, only to find herself trapped in a dead-end job, unable to shake her past or tame her inner demons. One of those demons—literally—is Moose (played by Colin Smith): a loud, snarky, magnificently antlered figment of her imagination who embodies her depression, anxiety, and those pesky self-sabotaging thoughts. Colin was sensational in the role, perfectly balancing campy hilarity with sinister undertones, and delivering scathing inner monologues with the flair of a seasoned cabaret villain. Alisha O'Brien’s performance was astonishingly layered. She captured Molly’s physical discomfort, clenched politeness, and spiralling self-doubt with remarkable precision. Watching her slow descent into a mental breakdown was confronting, cathartic, all too relatable: through botched public moments, job interview disasters, social meltdowns, and the deep loneliness of bottled-up emotions. Matthew Filkins proved a crowd favourite as Gavin, the David Bowie-tribute artist neighbour who burst into Molly’s life with glitter, leotards, and unexpected kindness. Matthew brought a radiant light to the stage every time he appeared, offering Molly the kind of unconditional friendship she never knew she needed (but was unquestionably better off having) like a human disco ball of warmth and support. Bianca Butler Reynolds, in the role of Annika, was a hurricane of energy (with a side of diagnosed bipolar disorder). She embodied the kind of bold and brash person who barges into your life like an uninvited guest at a party and you just have to roll with it. According to her playwright notes, Annika represents Molly’s Jungian shadow: everything she fears about herself, but maybe needs to embrace. The tension between the two characters crackled, with one particularly intense scene in which Annika screams at Molly, leaving the audience visibly rattled. Daren King played a cavalcade of secondary characters—from the insufferably chummy boss Clive, to a sleazy interviewer who took manspreading to an Olympic level, to a delightfully bizarre holistic therapist named Lionel (who would prescribe you a hug). Daren's range was seriously impressive, shifting from comedy to sincerity in a heartbeat. The show’s strength lay not only in its writing and performances, but also in its production design. Morrigan Moore’s set was deceptively simple—a couch, a desk, a four-cube shelf, and some doors—but it transformed into workplaces, bars, therapist offices, and inner mindscapes thanks to moody lighting and precise sound design. The red wash during Molly’s depressive episode, combined with Moose’s cruel whisperings, was particularly gutting. While mental illness is a central theme, Love You Hate You Drive You Wild  didn’t dwell in despair. Instead, it celebrated vulnerability, growth, and the power of allowing yourself to be seen. A moment late in the show where Molly let loose at karaoke, finally shaking off the weight of her shame, felt like a collective exhale from all in the theatre. And the ending struck a note of hope without feeling unrealistic. A hard-earned triumph. This play is for anyone who has ever been too polite, too scared, too tired, or too hard on themselves. It is for those of us who battles our own moose-like monsters daily, and still try to dance. It’s a raw, witty, heartfelt story about embracing yourself in all its awkward, hilarious, ugly, beautiful glory. Presented by:  Minola Theatre and PIP Theatre Venue:  PIP Theatre, Milton Written by:  Bianca Butler Reynolds Directed by:  Kat Dekker Production Design:  Morrigan Moore Stage Management, Sound & Lighting:  Ursula Heesh and Joe Rogers Photographs by Kris Anderson

Title: Legally Blonde Jr. – SCYT 2025 Winter Camp Presented By: Sunshine Coast Youth Theatre (SCYT) Genre: Musical Theatre Synopsis: Elle Woods appears to have it all – she's popular, stylish, and the life of the party. But when her boyfriend Warner dumps her to attend Harvard Law, Elle takes matters into her own hands. Determined to prove she’s more than just a pretty face, she follows him to law school, discovering her own strengths and redefining herself along the way. This junior version of the hit Broadway musical is packed with energy, humour, and girl-power, making it a perfect Winter Camp production! Audition Date: Friday 30th May 2025 (First Round) Mini / Junior Performers: 6.30pm – 7.30pm Intermediate / Senior Performers: 7.30pm – 9.00pm Saturday 31st May 2025 (Callbacks by invitation): 10.30am – 5.30pm Audition Location and Address: SCYT Studios, Unit 2 / 11 Bartlett Road, Noosaville QLD 4566 Audition Requirements: Bring your completed audition form (Page 5 of the audition pack). First-round auditions are in a workshop-style, open group format. Female-identifying students should familiarise themselves with “Omigod You Guys” and “Legally Blonde.” Male-identifying students should familiarise themselves with “Serious” and “Chip on My Shoulder.” No need to prepare acting or movement for Round 1 – it will all be taught on the day. Callbacks may include songs or script excerpts; materials will be available in the Portal’s “Files” section after audition registration. Wear comfortable clothing, runners or dance shoes, and bring water, a smile, and a positive attitude! Audition Registration: Register for an audition and access materials via the SCYT Portal Audition Pack: Download the full audition pack here: Legally Blonde Jr. Audition Pack PDF Performance Dates: Thursday 10th July – Saturday 12th July 2025 Rehearsal Dates: Monday 30th June – Friday 4th July 2025 (Lead Roles) Monday 7th July – Wednesday 9th July 2025 (Full Cast/Ensemble) Rehearsal Times: 10.00am – 4.00pm each day (specific schedule to be provided post-casting) Required Age: Open to SCYT performers of Mini, Junior, Intermediate, and Senior levels (approx. 7–18 years). Production Website: https://scyt.com.au/auditions Other information: Students must be available for all rehearsals and performance dates. Callback notice may be short – preparation is encouraged in advance. Ensemble performers do not need to audition. You may book directly into camp via the Portal. Ensemble bookings close Friday 20th June (unless sold out earlier). Fee for lead role performers: $399 due by Thursday 12th June 2025 (includes tuition, rehearsal materials, show memento, and two-week camp). Character Breakdown: Elle Woods - Elle is a bubbly, upbeat sorority girl who seems superficial at first glance, but proves to be intelligent, kind-hearted, and incredibly determined. Her journey from heartbreak to Harvard Law reveals her true strength and integrity. Skill Requirements: Strong triple threat performer – confident singer, dancer, and actor. Needs great stage presence, energy, emotional range, and comedic timing. Warner Huntington III - Warner is Elle’s ex-boyfriend, a charming but self-absorbed young man from a wealthy background. Focused on his political future, he breaks up with Elle for not being “serious” enough. Skill Requirements: Strong singer and actor. Must be able to balance charm and snobbishness while playing the “perfect on paper” type. Emmett Forrest - Emmett is a smart, kind, and slightly nerdy law student who becomes Elle’s closest ally at Harvard. He sees her potential before she sees it herself and ultimately becomes her love interest. Skill Requirements: Strong singer and actor. Needs emotional depth, warmth, and likeability. Paulette Buonufonte - Paulette is the outspoken, quirky hairdresser who befriends Elle and supports her journey. She provides both comedic relief and heartfelt moments, especially in her own love story. A Boston accent is a plus! Skill Requirements: Strong comedic performer. Needs good singing skills and the ability to portray vulnerability beneath a brash exterior. Professor Callahan - A tough, intimidating law professor who serves as an obstacle for Elle. He values ambition over empathy and power over people. Skill Requirements: Strong actor and singer with a commanding presence. Needs to convincingly shift from mentor to antagonist. Vivienne Kensington - A smart, sophisticated, and initially cold student at Harvard who is Warner’s new girlfriend. She starts off as Elle’s rival but undergoes a transformation and becomes an ally. Skill Requirements: Strong singer and actor with a strong stage presence. Brooke Wyndham - A famous fitness instructor and former sorority sister on trial for murder. Energetic and glamorous, she is innocent but needs Elle to help prove it. Skill Requirements: Strong dancer and singer. Needs stamina and charisma, particularly for the jump rope-heavy “Whipped into Shape” number. Enid Hoopes - An outspoken Harvard law student and feminist with strong convictions. She adds to the diverse group of personalities at Harvard. Skill Requirements: Strong character actor with good comedic delivery. Serena, Margot, and Pilar - Elle’s three best friends and sorority sisters who serve as her Greek chorus throughout the show. They’re bubbly, high-energy, and act as her cheerleaders and inner voice. Skill Requirements: Strong singers and dancers with comedic energy and chemistry. Kyle the UPS Guy - Paulette’s love interest. He’s confident, flirtatious, and the object of one of the show’s running gags. Skill Requirements: Comedic timing, physical comedy, and swagger are key. Additional Roles: Kate, Chutney, Whitney, Aaron, Dewey, Store Clerks, Judge, TV Reporter, Courtroom Staff, Harvard Students, Delta Nu Sorority Members, Ensemble roles.

Title: Legally Blonde – Semester 2 Senior Production Presented By: Communication in Action (CIA) Genre: Musical Theatre Synopsis: Stylish, spirited, and oh-so-pink, Elle Woods is the queen bee of her sorority – until her picture-perfect world is flipped upside down. Dumped by her boyfriend for someone “serious,” Elle makes the ultimate move: enrolling at Harvard Law to win him back. But what starts as a mission of love quickly turns into a journey of self-discovery, female empowerment, and fierce legal talent. Based on the beloved film, Legally Blonde is bursting with catchy songs, snappy humour, and dazzling dance numbers – and this fresh CIA production promises to deliver all the sass and sparkle you can handle. Audition Date: Sunday 1st June 2025 Audition Time: Time slots to be confirmed via enrolment and audition registration. Audition Location and Address: Thomas Dixon Centre, 406 Montague Rd, West End QLD 4101 Audition Requirements: Open to all students in Year 7 and above. Audition format and requirements will be outlined upon enrolment. No prior experience required – all levels welcome, from beginners to seasoned performers. The script will be adapted for the cast to ensure every performer gets a meaningful role. Audition Registration: Visit the CIA Website to register and enrol.Audition times and details will be shared after enrolment confirmation. Performance Dates: Saturday 23rd August 2025 Performance Location: Thomas Dixon Centre, 406 Montague Rd, West End QLD 4101 Rehearsal Dates: July – August 2025 (Exact schedule to be confirmed and released via the CIA Acting & Musical Theatre Calendar) Required Age: Ages 12 to 25 Production Website: https://communicationinaction.net/semester-2-performance/ Other information: Cost: $500 + GST Full commitment to all rehearsals and performance date is essential. Limited spaces available – early enrolment is strongly encouraged. Character Breakdown: Elle Woods - Elle is a bubbly, upbeat sorority girl who seems superficial at first glance, but proves to be intelligent, kind-hearted, and incredibly determined. Her journey from heartbreak to Harvard Law reveals her true strength and integrity. Skill Requirements: Strong triple threat performer – confident singer, dancer, and actor. Needs great stage presence, energy, emotional range, and comedic timing. Warner Huntington III - Warner is Elle’s ex-boyfriend, a charming but self-absorbed young man from a wealthy background. Focused on his political future, he breaks up with Elle for not being “serious” enough. Skill Requirements: Strong singer and actor. Must be able to balance charm and snobbishness while playing the “perfect on paper” type. Emmett Forrest - Emmett is a smart, kind, and slightly nerdy law student who becomes Elle’s closest ally at Harvard. He sees her potential before she sees it herself and ultimately becomes her love interest. Skill Requirements: Strong singer and actor. Needs emotional depth, warmth, and likeability. Paulette Buonufonte - Paulette is the outspoken, quirky hairdresser who befriends Elle and supports her journey. She provides both comedic relief and heartfelt moments, especially in her own love story. A Boston accent is a plus! Skill Requirements: Strong comedic performer. Needs good singing skills and the ability to portray vulnerability beneath a brash exterior. Professor Callahan - A tough, intimidating law professor who serves as an obstacle for Elle. He values ambition over empathy and power over people. Skill Requirements: Strong actor and singer with a commanding presence. Needs to convincingly shift from mentor to antagonist. Vivienne Kensington - A smart, sophisticated, and initially cold student at Harvard who is Warner’s new girlfriend. She starts off as Elle’s rival but undergoes a transformation and becomes an ally. Skill Requirements: Strong singer and actor with a strong stage presence. Brooke Wyndham - A famous fitness instructor and former sorority sister on trial for murder. Energetic and glamorous, she is innocent but needs Elle to help prove it. Skill Requirements: Strong dancer and singer. Needs stamina and charisma, particularly for the jump rope-heavy “Whipped into Shape” number. Enid Hoopes - An outspoken Harvard law student and feminist with strong convictions. She adds to the diverse group of personalities at Harvard. Skill Requirements: Strong character actor with good comedic delivery. Serena, Margot, and Pilar - Elle’s three best friends and sorority sisters who serve as her Greek chorus throughout the show. They’re bubbly, high-energy, and act as her cheerleaders and inner voice. Skill Requirements: Strong singers and dancers with comedic energy and chemistry. Kyle the UPS Guy - Paulette’s love interest. He’s confident, flirtatious, and the object of one of the show’s running gags. Skill Requirements: Comedic timing, physical comedy, and swagger are key. Additional Roles: Kate, Chutney, Whitney, Aaron, Dewey, Store Clerks, Judge, TV Reporter, Courtroom Staff, Harvard Students, Delta Nu Sorority Members, Ensemble roles.

I had the pleasure of attending the dress rehearsal of Aquila , the brand-new ballet by 23-year-old Brisbane composer Stanlee Harris, presented by Brisbane Ballet and choreographed by Emrys Goldsworthy. It was performed alongside Morbus , and together, these works formed a bold, intimate, and deeply evocative double bill of contemporary and classical dance that both challenged and delighted me. This was not your usual night at the ballet. The entire performance was stripped back — just three dancers and three live musicians — yet it felt all the more emotionally impactful because of that minimalism. Both pieces were staged at the lovely Talbot Theatre — which, by the way, doesn’t seem to have a single bad seat.   The performance opened with Morbus , a thrilling and visceral work. The word itself means disease, sickness, plague, illness, malady — and the ballet embodied all of it. Performed to a strikingly beautiful recorded score of Vivaldi, Bach, Handel, Purcell, and Rameau , Morbus  was a sensory punch to the chest, full of raw power and contemporary movement. The stage was stark and captivating — black costumes, bright red socks, a black backdrop and harsh white overhead lighting.   Dancers Jordan Lennon, Tahlia Goldsworthy, and Rose Maloney moved through the light and darkness with astonishing quickness, their physical control and emotional expressiveness leaving me wide-eyed. Sharp, angular gestures gave way to slower, fluid sequences — every movement seemed to speak of pain and disconnect. Rose and Tahlia barely paused for breath. Their stamina was extraordinary, and they carried much of the emotional weight of the work with both grace and fury. They moved like ghosts around each other — synchronised but never connecting; sharing the same space yet existing in separate emotional planes.   Jordan Lennon, shirtless and lit from above, radiated intensity. Every visible muscle told a story beneath his skin, and his performance was a study in tension and anguish. His pas de deux with Tahlia was heartbreakingly raw. At one point, he screamed silently, his entire body contorted in pain. It was a gut-wrenching moment of full-body storytelling.   The lighting design was especially striking — harsh and oppressive, it created a sense of emotional claustrophobia. The dancers disappeared into shadow and re-emerged like flickers of thought — haunting, ungraspable, and fleeting. This sense of isolation was amplified by the dancers' lack of eye contact, their shared suffering only becoming truly apparent in the final moments. The choreography by Emrys Goldsworthy played with presence and absence beautifully. Recurring movement motifs — head rolls, twitching arms, rippling spines — created a visual language that was both unsettling and mesmerising. At times frantic, at times eerie, the choreography held me captive.   As the cello wept and the women pressed fists into their mouths, stifling silent screams before collapsing in surrender to Morbus , the work took on a theatrical, almost operatic feel. It felt like grief. Like madness. Like the invisible weight we carry but can’t name. A striking metaphor for both physical and mental illness. I may not speak the technical language of dance, but I do know theatre — and Morbus  was deeply theatrical. It stirred something visceral in me — and that, in any art form, is a triumph.   Then came Aquila  — and I was absolutely transported. This new work, composed by 23-year-old Brisbane talent Stanlee Harris, is an interstellar love story told through stars, colour, and soaring strings. Set in a fictional galaxy, the story centres on three stars caught in a web of friendship, betrayal, heartbreak, and love. It’s an abstract concept, yet it lands — largely thanks to how grounded and emotionally expressive the performers are. It’s cosmic in concept, but deeply human in feeling. I was lucky to be seated up close, where I could see the delicate play of the costume fabric and the glimmer of emotion on each dancer’s face. The lighting design was divine: washes of pinks, blues, and purples gliding across a cosmic backdrop, creating a world that shimmered with both beauty and tragedy. The music — performed live by three brilliant musicians on piano, cello, and violin — was an absolute triumph. Stanlee Harris’ score is lush, lyrical, and brimming with emotion. It began bright and sweet — a major key love theme full of warmth — for Rose and Jordan to dance their first tender duet. The choreography here was soft and sweet, a beautiful depiction of young love — innocent, hopeful, brimming with possibility. Stanlee’s score gradually darkens as the emotional landscape shifts. The lighting followed suit, transitioning into yellows, greens, and reds as we moved deeper into a more fractured, volatile galaxy. Tahlia’s ' rejection ' solo was breathtaking, set to a sorrowful, trilling piano that ached with longing — like regret made audible: delicate, haunting, and unforgettable. Her heartbreak was almost too visceral. I recall thinking, I wish I could express my own pain through dance like that.     Rose’s solo was another highlight. It built from soft vulnerability into something bold and fierce, echoing her character’s transformation. And when the love theme returned, and she and Jordan reunited in a final pas de deux, the emotional energy made me audibly sigh (in a wishful way). The way she collapsed into his arms, again and again, was poetic — a star dying in the arms of someone who never stopped loving her. Their partner work felt like a bittersweet love letter: sweet, fragile, and achingly sad.   As the anguished male figure, Jordan was magnetic, once again bringing something truly special to the role. He has this special ability to express deep emotion through movement. I noticed it when he played the Prince in Snow White  for Ballet Theatre Queensland, and it’s even more resonant here. There’s something old-world cinematic about his performance — like a dancer from a noir film — every glance, every gesture laced with unspoken longing. Aquila  and Morbus  made for a gripping double bill. They are so different — one futuristic and romantic, the other dark and primal — but together, they showcased the incredible power of movement and music to tell a story without a single word spoken. This was local, heartfelt storytelling with universal themes — all told in under an hour. As someone who doesn’t often attend contemporary ballet, this experience was such a gift. I adored the stripped-back nature of it — just three dancers, three musicians, no elaborate sets or spectacle. The intimacy made every movement matter. Emrys Goldsworthy’s choreography was detailed, emotive, and inventive — I sincerely hope I see more of his work. Thank you to Brisbane Ballet for inviting me to this beautiful dress rehearsal. If you were lucky enough to catch the performance, I’d love to hear your thoughts too. For me, Aquila  and Morbus  were a stunning reminder of how dance can move us beyond language — and how the smallest, most intimate performances often leave the deepest impact.

Title: If/Then Presented By: Vox Theatre Arts Genre: Contemporary Broadway Musical Synopsis: If/Then is a beautifully complex and heartfelt musical that follows one woman’s life across two parallel paths, exploring the intersection of fate and choice. Elizabeth, a city planner recently returned to New York, faces a pivotal crossroads. One decision leads to a life of professional success and independence, the other to love and family. With music by Tom Kitt and a book and lyrics by Brian Yorkey (Next to Normal), this deeply moving and modern musical explores how the smallest decisions can change everything. Audition Dates: Friday, 23 May 2025 (7:00pm–10:00pm) Saturday, 24 May 2025 (10:00am–4:00pm) Audition Times: 15-minute private sessions – book your time online Audition Location and Address: Northside Studio, 11 Buchanan Road, Banyo QLD 4014 Callback Workshop: Friday, 30 May 2025 7:00pm–10:00pm Audition Registration: Audition Form via Website Audition Pack: Download Audition Pack Audition Requirements: Vocal Audition: Prepare two contrasting songs (approx. 1 minute each), one must be Musical Theatre. Songs must not be from If/Then. You may be asked to complete a vocal range test. Bring your own backing track on a device compatible with an AUX cord (bring an adapter if needed). You're encouraged to act the song and show emotional connection and character. Acting Audition: Prepare one monologue or duologue scene from the provided audition sides: Audition Sides Scenes do not need to be memorised – reading from a prompt copy is fine. General American accent required for all scenes. A reader will be available for duologues. Available Roles: ELIZABETH Vocal Range: A3 – E5 Stage Age: 38 Presenting Gender: Female Description: Newly single and back in New York City, Elizabeth is determined to restart her life and make the right choices this time. A former grad student now recovering from a long and unhappy marriage, she is capable but not confident, ambitious yet anxious. She’s smart, straightforward, and longs for joy, though she fears it may be out of reach. This is a complex, emotionally driven leading role requiring strong vocal and acting skills. KATE Vocal Range: A3 – F5 Stage Age: 30–45 Presenting Gender: Female Description: A vibrant, no-nonsense New Yorker and a sparkly, tough-as-nails kindergarten teacher. Kate is an open-hearted, unapologetic feminist who lights up every room. She’s the life of the party, a supportive friend, and someone who sees the good in everyone. Her relationship with Anne brings balance and emotional resonance to the show. ANNE Vocal Range: E4 – C5 Stage Age: 30–45 Presenting Gender: Female Ethnicity: All Ethnicities Description: Anne is Kate’s girlfriend and eventual wife. She is calm, rational, and grounded, providing a stabilising contrast to Kate’s exuberance. Though more reserved, she’s deeply loving and emotionally intelligent. A beautiful, mature role requiring sincerity and subtlety. JOSH Vocal Range: C2 – A#4 Stage Age: 35–45 Presenting Gender: Male Description: A kind-hearted, grounded man from the Midwest who served as an Army doctor and now works in medicine. Josh is confident in his professional life but unsure in love, making him endearing and relatable. His romantic journey with Elizabeth is central to the storyline. LUCAS Vocal Range: B2 – G#4 Stage Age: 30–40 Presenting Gender: Male Description: A passionate, intellectual activist and blogger who is deeply principled and emotionally intense. Lucas is a free-spirited urban farmer with a rebellious streak, challenging societal norms and fiercely loyal to his ideals and friends. Sexuality is fluid and an important part of his character’s journey. DAVID Vocal Range: A#2 – A4 Stage Age: 30–40 Presenting Gender: Male Description: Lucas’ boyfriend and a successful surgeon. David is charming, grounded, and quietly confident, with traditional values and a warm heart. His scenes require vulnerability and genuine emotional connection. STEPHEN Vocal Range: D3 – D4 Stage Age: 35–45 Presenting Gender: Male Description: A suave and politically savvy city official who blends idealism with realism. Stephen is ambitious, smooth, and occasionally manipulative. He’s attractive, knows it, and is unafraid to use it. Requires charisma and nuance. ELENA Vocal Range: E4 – C5 Stage Age: 25–30 Presenting Gender: Female Description: Bright-eyed and recently graduated with an MA in Urban Studies, Elena is enthusiastic, ambitious, and eager to learn. She becomes Elizabeth’s protégé and represents fresh hope and forward momentum. ENSEMBLE (4–6 Performers) Stage Ages: 25–45 Description: A diverse and vital part of the New York City world. Ensemble members will portray various citizens and have opportunities for featured vocal moments. Strong singers and actors needed. Movement may be included. Scheduling: Performance Dates: Preview: Thursday 9 October Opening Night: Friday 10 October Closing Matinee & Night: Saturday 11 October Performance Location: Arcana Empress Theatre, 46 Evesham St, Moorooka Rehearsal Dates: Starting Sunday 13 July Rehearsal Times: Tuesdays: 7:00pm – 10:00pm Thursdays: 7:00pm – 10:00pm Sundays: 10:00am – 3:00pm Rehearsal Locations: Vox Studio (Upper Mount Gravatt) Northside Studio (Banyo) Tech & Bump-In Begins: Sunday 5 October Cast and crew must be fully available from this date through to closing. Warnings: Themes of death, grief, and loss Profanity throughout Romantic intimacy between same and opposite-gender couples Creative Team: Director: Hayley Gervais Musical Director: Alex Angus Assistant Director & Choreographer: Ruby Thompson Assistant Musical Director: Erin Power Production Website: www.voxtheatrearts.com Other information: This is an amateur production; no roles are paid. Please be advised the show contains profanity and onstage intimacy. An Intimacy Coordinator will be present throughout rehearsals. Vox Theatre Arts champions diverse casting and encourages performers of all ethnicities, genders, sexualities, abilities, and backgrounds to audition. All performers must be 18+ by the first rehearsal.

Title: As You Like It Presented By: Vox Theatre Arts Genre: Shakespearean Comedy / Devised Musical Theatre Synopsis: William Shakespeare’s As You Like It is a whimsical pastoral comedy filled with disguise, romantic entanglements, wit, and wisdom. The story follows the brilliant Rosalind, who is banished from court by her villainous uncle, Duke Frederick. Disguised as the boy Ganymede, she flees to the Forest of Arden with her loyal cousin Celia and the sharp-witted court fool, Touchstone. There, she unexpectedly reunites with Orlando, her love interest who has also fled the court. What follows is a vibrant tale of love, identity, and freedom—where gender roles are blurred, hearts are tested, and love triumphs under the trees. In this exciting new production, classic Shakespearean language will be paired with live arrangements of Australian rock and folk music, offering a uniquely homegrown take on this timeless story. Audition Date: Saturday 17 May 2025 Audition Time: 9am - 2pm Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD 4064 Audition Requirements: Please prepare either: Two contrasting monologues OR One Shakespearean monologue (1–3 minutes, not from As You Like It) AND one song (1–2 minutes) in the folk/rock style (preferably by an Australian artist). You are encouraged to accompany yourself on an instrument (guitar and keyboard provided). You may also bring your own instrument or a Bluetooth-compatible backing track. This is a devised ensemble production, so roles are not pre-defined as singing or non-singing. Come ready to showcase your creativity and versatility. Auditionees must be 18+. Audition Registration: Click here to register Audition Pack: Click here to download Available Roles: All roles are open and are listed as any age and gender-presenting as specified: Rosalind – witty, self-assured heroine, disguised as Ganymede Orlando – hopeful, determined, romantic lead Celia – devoted cousin, quick-witted and loyal Oliver – Orlando’s jealous elder brother, later reformed Touchstone – sharp-tongued court fool, delightfully absurd Duke Senior – the exiled, wise Duke with a Robin Hood aura Silvius – a hopeless romantic shepherd Audrey – a simple, charming goatherd Duke Frederick – the power-hungry, volatile usurper Phebe – proud and strong-willed shepherdess Jaques – brooding, philosophical attendant to Duke Senior Performance Dates: 28 – 31 August 2025 Performance Times: Thurs 28 Aug – Preview Fri 29 Aug – Opening Night Sat 30 Aug – Matinee & Evening Sun 31 Aug – Closing Performance Performance Location: Forest Lake Amphitheatre, Forest Lake Boulevard, Forest Lake QLD 4078 Rehearsal Dates: Sunday mornings (9 am – 12 pm) and some Tuesday/Wednesday evenings (7 pm – 10 pm) First Rehearsal: Sun 8 June (Meet & Greet) Key Dates include Media Days, Full Runs, Sitzprobe, and Tech Week starting 24 Aug Full schedule provided upon casting Participants are not required for every rehearsal – schedules will reflect role and availability Rehearsal Locations: Vox Studio (Upper Mount Gravatt) Forest Lake Amphitheatre Music Director’s Studio (Auchenflower) Required Age: 18+ Creative Team: Director: Max Kingsbury Music Director: Molly Parker Set & Design: Tamzen Hunter Producer: Rhona Bechaz Assistant Director & Choreographer: Hannah Herwin Production Website: www.voxtheatrearts.com Other Information: This is an amateur production. All performers volunteer their time and talent.