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Title:  Come From Away Presented By:  Empire Theatre Genre:  Musical Theatre Synopsis: Come From Away  is a heartwarming musical that tells the true story of what transpired when 38 planes were ordered to land unexpectedly in the small town of Gander, Newfoundland, during the events of September 11, 2001. The musical highlights the compassion and kindness of the townsfolk as they welcomed 7,000 stranded passengers into their community. Audition Details Audition Dates: Friday 22nd November:  5:30 pm – 9:30 pm Saturday 23rd November:  9:00 am – 5:00 pm Sunday 24th November:  9:00 am – 6:00 pm Monday 25th November:  5:30 pm – 9:30 pm Audition Location: Empire Theatre Precinct, 54 - 56 Neil Street, Toowoomba. Call Backs: All auditionees must be available for call backs on Friday 29th and Saturday 30th November 2024. Audition Pack Link:   Come From Away Audition Information Pack Audition Registration: Complete the online registration form by 9 am, Monday 11th November 2024 . Register for your audition via our website: Empire Theatre Audition Registration . Due to time constraints, you will only be able to audition for a maximum of two roles. Audition Requirements Age Requirement:  Roles are open to individuals aged 16 years and up (must be 16 by 1st January 2025; no children/youth roles available). Onstage Roles: Songs:  Prepare two own-choice songs in the style of the show (musical or pop). Do not choose songs from Come From Away . Approximately 32 bars  (1 minute per song). Live accompanist is encouraged or use digital backing track. Acting: The panel may provide you with a short acting excerpt(s). If you do not wish to audition for a particular role, you may still be required to present one excerpt. Dance:  A movement/dance audition will occur in small groups and taught to you by the choreographer on the day. Wear appropriate clothing and footwear. Backstage Singers: Group audition on Sunday 24th November at 4 pm . No prior song preparation needed. Creative Team Director & Choreographer:  David Wynen Musical Director:  Owen Clarke Rehearsals and Performances Rehearsal Schedule: Starting Saturday 18th January ; detailed schedule to follow. Tech and Dress Rehearsals: Scheduled from Saturday 8th to Thursday 13th March 2025 ; attendance required. Performance Dates: Performance #1:  14th March 2025 at 7:30pm Performance #2:  15th March 2025 at 7:30pm Performance #3:  16th March 2025 at 2:00pm Performance #4:  21st March 2025 at 7:30pm Performance #5:  22nd March 2025 at 7:30pm Performance #6:  23rd March 2025 at 2:00pm Additional performances may be added based on demand. Roles Available PRIMARY CHARACTERS - LOCALS Claude Role:  Mayor of Gander, loves his community but faces this crisis. Age:  40s – 60s Vocal Type:  Gruff baritone with strong G4. Bonnie Role:  Head of the Gander SPCA, fiercely protective of animals. Age:  30s – 40s Vocal Type:  Mezzo with belt up to B4. Beulah Role:  Head of the Gander Legion, caring and supportive. Age:  40s – 60s Vocal Type:  Mezzo with belt up to B4. Oz Role:  Quirky constable in Gander's police force. Age:  30s – 50s Vocal Type:  Contemporary tenor up to G4. Doug Role:  Air Traffic Controller, helps his wife and animals. Age:  30s – 40s Vocal Type:  Warm baritone with easy E4. Janice Role:  New local TV reporter, eager and naive. Age:  20 Vocal Type:  Contemporary soprano with strong pop belt up to E5. Annette Role:  Local teacher and mother. Age:  40s – 60s Vocal Type:  Strong mezzo with belted C#5. Garth Role:  Head of the local union for bus drivers. Age:  30s – 40s Vocal Type:  Contemporary tenor up to G4. PRIMARY CHARACTERS – COME FROM AWAYS Beverley Role:  First female American Airlines captain. Age:  50s Vocal Type:  Strong mezzo with belted C#5. Diane Role:  Divorcee from Texas, finds new joy. Age:  50s Vocal Type:  Contemporary soprano with strong mix up to D5. Nick Role:  English oil engineer, falls for Diane. Age:  50s Vocal Type:  Warm baritone with easy E4. Kevin T Role:  Head of an energy company, inspired by Gander. Age:  30s – 50s Vocal Type:  Contemporary tenor up to G4. Kevin J Role:  Kevin T’s boyfriend, sarcastic and unhappy. Age:  30s – 50s Vocal Type:  Tenor or baritone. Bob Role:  New Yorker, initially suspicious but grows through the experience. Age:  20s – 40s Vocal Type:  Baritone. Hannah Role:  Mother of a firefighter, anxious for news. Age:  40s – 60s Vocal Type:  Contemporary soprano with strong belt up to E5. ENSEMBLE Town staff, passengers, children, air traffic controllers, and animals. Orchestra Participation Instruments:  Whistle, drums, mandolin, bass, guitar, bodhran, fiddle. To express interest in joining the orchestra, email outlining your instrumental and ensemble experience to: orchestra@empiretheatre.com.au Build and Crew Involvement If you wish to volunteer for sewing, cutting, painting, lighting, or other crew roles, please email productions@empiretheatre.com.au

Title:  The Boy From Oz Presented By:  Beenleigh Theatre Group Genre:  Musical Synopsis: The Boy From Oz is a highly acclaimed biomusical celebrating the life of Australian entertainer and songwriter Peter Allen. It narrates his rise from humble beginnings singing in country pubs to becoming a global superstar, intertwining themes of family tragedy, love, and loss. Featuring his beloved hits like "I Honestly Love You" and "Not The Boy Next Door," the musical captures the essence of an extraordinary life and career. Audition Details Audition Dates: Saturday 9 November 2024 Sunday 10 November 2024 Audition Time: 10:00 AM (Group Dance Call) Private slots available throughout the days Audition Location and Address: Crete Street Theatre,Crete Street, Beenleigh QLD 4207 Audition Registration: BOOK Audition Pack: Download Audition Pack Audition Requirements: Auditionees must be 16+ (unless auditioning for specified child roles) Prepare two songs (1 - 1.5 minutes each) that showcase vocal range and are similar in style to the show’s music Provide your own backing; attachments for phones will be available in the audition room Actors auditioning for character roles should prepare a script extract Rehearsal Dates: Rehearsals will commence on 17 November 2024. Rehearsal Times: Mondays and Wednesdays (7 PM - 10 PM) Sundays (4 PM - 9 PM) Performance Dates: 7th - 22nd February 2025 Performance Times: Friday and Saturday evenings at 6:30 PM Saturday afternoons at 2 PM Creative Team: Director: Lachlan Dodd Music Director: Nate Stevenson Choreographer: Jennifer B Ashley Production Website: Beenleigh Theatre Group Other Information: A membership fee of $20 is required for all successful auditionees prior to the first rehearsal. Beenleigh Theatre Group is committed to inclusive and diverse casting practices. Character Breakdown Peter Allen Age: 25-45 Description: The great Australian entertainer, singer, songwriter, and dancer. A dynamic, exhaustingly energetic performer who works the audience through flashbacks, narration, humour, and drama. Tap experience is a plus. Judy Garland Age: 40+ Description: An iconic singing star of the Hollywood Golden Era, exuding star power, attitude, sarcasm, and wit. She carries a balance of troubled history, experience, and exhaustion. Liza Minelli Age: 20-40 Description: A strong triple threat performer living in the shadow of her famous mother until her own career takes off. Quirky, energetic, stylish, and a true theatre beast. Marion Woolnough Age: 40+ Description: Peter’s mother, a solid and supportive figure. Played mostly through flashbacks, she has a strong bond with Peter and provides insights into his childhood. Greg Connell Age: 20s-30s Description: Peter’s partner, a sexy Texan cowboy-type. He is sincere, realistic, loving, and cheeky, requiring a Texas accent. Young Peter Age: 10 Description: Energetic and optimistic, representing hope and innocence, contrasting with older Peter’s experiences. Karen, Shena & Linelle Ages: 20+ Description: Amazing pop singers with great range, sharing the stage with Peter as backing singers. Dee Anthony Age: 40+ Description: Peter’s US agent who doubles as Dick Woolnough. Valerie Anthony Age: 40+ Description: Dee’s wife and a Peter Allen fan, doubling as assorted female roles. Dick Woolnough Age: 40+ Description: Peter’s abusive, alcoholic father, also doubling as Dee Anthony. Wally Bell Age: 30+ Description: Peter’s first manager who doubles as Andy Warhol. Brian Henderson Age: 20+ Description: A young TV host who doubles as assorted male roles. Chris Bell Age: 20+ Description: A young songwriter and member of the Allen Brothers. Ensemble: Additional supporting roles and cameos will be drawn from the ensemble, including characters Josie, Rich Woman, Producer, Choreographer, Director, Director’s Assistant, and various reporters.

JDProCo's cabaret, ' The Broadway Jam Vol II ', was an exhilarating night of musical theatre curated by the amazing Josh Daveta. The venue was packed to the brim and the cast was teeming with insane talent, with each song handpicked by the performers to showcase their versatility. So versatile, in fact, that I found myself faced with a delightful challenge: many of the songs were unfamiliar to me! I mean, how can one be expected to know all these obscure songs, right? But hey, I wasn't the only one lost in this sea of musical surprises. The eclectic mix of tunes kept us all on our toes, eagerly anticipating the next unexpected gem to hit our eardrums.   As Josh, our charismatic MC, explains early on, this show is a celebration of versatility, with selections spanning across decades and genres—from Singin' in the Rain to Rocky Horror to Spring Awakening . Every performer is a natural storyteller... and likely professionally trained, but who's counting? They transported us through different stories, delivering heartfelt ballads and electrifying showstoppers as an array of diverse characters, albeit detached from their original contexts, because that's how JDProCo rolls. Act 1: Stories in Song The show opened with Heidi Enchelmaier leading the ensemble in a soulful and stirring rendition of "Mama Who Bore Me" from Spring Awakening . Stumbling out with a gin bottle in hand, Fiona Buchanan completely morphed into Miss Hannigan for her comedic rendition of "Little Girls" from Annie —one of many laugh-out-loud moments throughout the night.   Nathaniel Savy mesmerised the crowd with "Simply Second Nature" from Charlie and the Chocolate Factory . Sitting front row, I can tell you this: there was a literal twinkle in this man's eyes—a magical quality that, combined with his divine voice, made it clear he would make an incredible Willy Wonka. You could feel his love for the role pouring out, embodying the eccentricity of the character flawlessly. Josh Daveta's elegant rendition of "Stars and Moon" from Songs for a New World was an unexpected yet beautiful choice that perfectly complemented the reflective tone of Act 1. It was clear that storytelling was at the heart of this act, with each artist pouring their soul into their chosen ballad. I found myself clinging to every lyric in a way I don't normally do with mainstream music. Kristin Sparks performing "Sexy" from Mean Girls was a standout crowd favourite, absolutely nailing it with her full commitment to the character. She was adorable, hilarious, and, well... sexy! Although I have always loved this song, experiencing it live for the first time was a special treat, thanks to Kristin's portrayal of Karen's ditzy charm. Another highlight of the evening came from Grace Royle, whose rendition of "Sweet Transvestite" from The Rocky Horror Picture Show had the audience shivering with antici.............pation. They channeled the iconic character's spirit while adding their own soulful touch and fabulous flair! The full ensemble number "For Now" from Avenue Q exploded with energy and sheer joy that the cast experienced on stage. Aysa Garcia Wong's beautiful rendition of "The River" - from the brand new Alicia Keys musical Hell’s Kitchen - captivated the crowd, while Sam Caruana stepped into the shoes of Frankie Valli to deliver "I’m in the Mood for Love" from Jersey Boys . His incredible vocal range, seamless register switching, and falsetto left the audience in awe. Heidi offered up another jaw-dropper with "Another Life" from The Bridges of Madison County . Although I had never heard this song before, I find myself itching to learn it now. Heidi captivates with the beauty of her storytelling by painting a vivid picture through her voice and expression. Kyla Price shone brightly with "Wishing You Were Somehow Here Again" from The Phantom of the Opera , infusing the classic ballad with even more emotional resonance than I thought possible. Hayden Rodgers wowed everyone with their performance of "Snow Angel," popularised by Renee Rapp, showcasing impressive melismas that had the audience gaping and nodding in appreciation. Chelsea Sales sang "Quiet" from Thirteen Stories Down , displaying an astonishing grace and beautiful voice that never fails to shock me, no matter how many times I see her on the stage. Act 2: The Younger Years   Act 2 took a playful turn, with the seasoned performers embracing younger, often teenage, characters. It was both nostalgic and refreshing to see these familiar characters reimagined by this cast. Heidi, complete with fairy wings and tiara, portrayed a very young girl while performing “My Party Dress” from Henry and Mudge . Her talent was on full display as she nailed the persona of a hyperactive child. It was hilarious, adorable, and had the entire audience in fits of laughter. Kristin Sparks took on the tough solo of "Home" as the spunky Lydia from Beetlejuice , absolutely nailing the performance with her strong vocals. Plus, "Candy Store" from Heathers by Kristin, Chelsea, and Aysa, was every bit as good as you would expect it to be. Nathaniel returned to the stage and soared with "Giants in the Sky" from Into the Woods as the adventurous Jack. This is no easy song to sing—it’s fast, intricate, and packed with lyrics—but Nathaniel was up for the challenge. Sure he stumbled over some tricky sections (who hasn't struggled with Sondheim?), but he recovered brilliantly, charming the audience with his genuine and playful approach to the song. Hayden Rodgers waved their wand and transformed into Elphaba for a powerful rendition of "The Wizard and I" from Wicked . This song holds a special place in my heart, and Hayden did not disappoint. Their vocal acrobatics and sustains were simply astounding. You could feel the passion radiating from them, creating a truly magical performance. Adding to the charm, Georgie Taylor delivered a sugary sweet, acoustic rendition of "Singin’ in the Rain," bringing smiles to all our faces. In a sweet surprise, Aysa Garcia Wong and Hayden joined forces for a duet of "Tonight" from West Side Story , and it was spine-tingling. The sparks were flying as they channeled their inner teen lovers Tony and Maria, their voices harmonising beautifully. Sam Caruana took on "No Turning Back Now", made famous by Jeremy Jordan, a poignant song about a 17-year-old's hopes and fears about becoming a dad. His vocal performance was top-tier (obviously), and the emotional depth he brought to the song was incredibly sincere.   Fiona delivered a hauntingly beautiful rendition of "The Man That Got Away" from A Star Is Born , and Grace followed up with a powerful performance of "Midnight Radio" from Hedwig and the Angry Inch , both commanding the stage with their presence. Then, Josh channeled Fairy Godmother from Shrek 2 and brought massive energy with "Holding Out for a Hero," even allowing the audience to sing along—something I’d been hoping for all night! In a humorous and unexpected twist to the setlist, Chelsea transformed into Pearl alongside Sam as Mr. Krabs for a delightful performance of "Daddy Knows Best" from SpongeBob The Musical . Josh and Kyla's memorable duet of "No One" from Hell's Kitchen displayed their harmonious blend, forming a stunning moment of connection as Kyla accompanied on the piano. The night ended with a bang as the cast joined forces for a powerful and polished performance of "You Will Be Found" from Dear Evan Hansen . The harmonies were tight, the emotion was felt, and it became a genuine celebration of belonging and community. You could see how much this moment meant to the performers and I walked away feeling completely uplifted.   Jakey Bristow provided musical accompaniment for all the songs during the evening, elevating the performances with his exceptional piano skills, and seamlessly incorporating tracks to enhance standout pieces like Heathers  and Dear Evan Hansen . Under the leadership of Josh Daveta, the atmosphere within this production company is undeniably filled with joy. The sense of belonging was felt by every single audience member, and I, for one, can't wait to return for the next installment in 2025. The Broadway Jam is clearly a labour of love, and you can feel it in every note sung and every lyric shared.

Title:  The Jungle Book Kids Presented By:  Brisbane Junior Theatre Genre:  Musical Synopsis:   Jungle Book  follows the adventures of Mowgli, a young boy raised by wolves in the heart of the jungle. As he grows up, he encounters a host of unforgettable characters, including Baloo the carefree bear, Bagheera the wise panther, and the fearsome tiger Shere Khan, who sees Mowgli as a threat. As Mowgli learns the ways of the jungle, he grapples with his identity and the struggle between his animal family and the human world. AUDITION DETAILS: Audition Intensive:  Saturday 16th November 2024 Audition Date:  Saturday 23rd November 2024 Performance Week:  16th - 21st December Ages:  5-12 AUDITION STEPS: Memorise Monologue:  Memorise a monologue with the required characterisation and accents. Research the musical and be familiar with the characters, particularly the role you are auditioning for. Monologue and Song Link Learn a Song: At the bottom of the monologue sheet will be a song and a link to a YouTube video. You will need to sing this song and dance during the audition. The choreography is taught on the day, and it’s suggested to be familiar with other songs from the show. Booking:  Book an audition time by sending an SMS to Debbie at 0438 896 436. Registration Form:  Download and complete the Production Registration Form and email it to brisbanejuniortheatre@gmail.com . Order T-Shirt (Optional):  BJT produces a T-shirt for all productions. If you would like one, complete the T-shirt Order Form and bring it to your audition along with payment. Character Breakdown Mowgli Gender: Male Vocal Range: C3 - D4 Role: Likable boy with a joyful, curious nature; captivating spark and feisty spirit; talented in acting and singing. Bagheera Gender: Any Vocal Range: D3 - Bb3 Role: Agile panther, older sibling figure to Mowgli; strong acting, singing, and storytelling abilities. Baloo Gender: Male Vocal Range: C3 - D4 Role: Exuberant bear providing comedic relief; physically uninhibited and enjoys the spotlight; strong rhythm needed for “I Wan'na Be Like You.” Kaa Gender: Any Vocal Range: D3 - B3 Role: Snake representing threat to Mowgli; strong vocal and movement skills required; cast includes five others for body. Shere Khan Gender: Male Vocal Range: E3 - C4 Role: Physically imposing tiger and villain; stronger actor preferred over singer. Colonel Hathi Gender: Male Vocal Range: D3 - A3 Role: Forgetful leader of the elephant brigade; good singing ability, acts like a drill sergeant; ideal for less experienced talent. Elephant Troupe Gender: Any Vocal Range: D3 - C#4 Role: Brigade of elephants; good movers/dancers, not necessarily strong singers; minimum of eight cast. Baby Elephant Gender: Any Vocal Range: A3 - E3 Role: Smallest or youngest child; features a solo line; should possess musical sense and movement skills. King Louie Gender: Male Vocal Range: C3 - C4 Role: Comedic king of the monkeys; strong singing ability and flair for acting like a monkey. Old Monkey Gender: Any Role: Strong actor over singer; comfortable with physical monkey traits. Monkeys Gender: Any Vocal Range: C3 - D4 Role: Strong dancers; involved in “I Wan'na Be Like You” with great choreography; consult choreographer for casting. Jungle Chorus Gender: Any Vocal Range: C3 - E4 Role: Ensemble of singers, actors, and dancers; should include natural leaders; flexible casting to involve everyone. Coconut Tree / Shanti Gender: Any Vocal Range: C4 - C5 Role: Sweet girl who takes Mowgli to the village; exudes kindness; features a couple of solos as the Coconut Tree. Shanti's Family Gender: Any Role: Represented by offstage voices; could be fun to involve teachers or principal for added effect.

Title:  Into The Woods Presented By:  Brisbane Junior Theatre Genre:  Musical Synopsis:   Into the Woods Jr. intertwines the tales of beloved fairy-tale characters as they embark on a quest to fulfil their wishes. From Cinderella's longing to attend the royal ball to Jack's adventure in the giant's castle, each character faces challenges and moral dilemmas in a magical forest. As they pursue their dreams, they discover that getting what you want isn't always what it seems. AUDITION DETAILS: Audition Intensive:  Saturday 16th November 2024 Audition Date:  Saturday 23rd November 2024 Performance Week: 16th - 21st December Ages:  13-19 AUDITION STEPS: Memorise Monologue: Memorise a monologue with the required characterisation and accents. Research the musical and be familiar with the characters, particularly the role you are auditioning for. Monologue and Song Link Learn a Song: At the bottom of the monologue sheet will be a song and a link to a YouTube video. You will need to sing this song and dance during the audition. The choreography is taught on the day, and it’s suggested to be familiar with other songs from the show. Booking: Book an audition time by sending an SMS to Debbie at 0438 896 436. Registration Form: Download and complete the Production Registration Form and email it to brisbanejuniortheatre@gmail.com . Order T-Shirt (Optional): BJT produces a T-shirt for all productions. If you would like one, complete the T-shirt Order Form and bring it to your audition along with payment. Character Breakdown Narrator Gender: Any Vocal Range: Bb3 - D4 Role: Charismatic storyteller, minimal singing. Jack Gender: Male Vocal Range: A3 - E5 Role: Adventurous young man learning valuable lessons. Jack's Mother Vocal Range: Bb3 - D5 Role: Frazzled, overworked woman with comic timing. Baker Gender: Male Role: Likable man determined to break the Witch's curse. Baker's Wife Vocal Range: A3 - E5 Role: Strong woman whose desire for a child drives the story. Little Red Ridinghood Gender: Female Vocal Range: Bb3 - Eb5 Role: Loud, bratty girl who learns important lessons. Witch Gender: Female Vocal Range: C4 - C5 Role: Manipulative woman seeking to regain her beauty. Florinda and Lucinda Gender: Female Vocal Range: C4 - G4 Role: Spoiled stepsisters of Cinderella. Mysterious Man Gender: Male Role: Puzzling character aiding the Baker, non-singing. Wolf Gender: Male Vocal Range: Bb3 - D5 Role: Sly character focused on attacking Little Red. Granny Gender: Female Role: Feisty woman confronting the Wolf. Steward Gender: Male Role: Cinderella's Prince's dependable servant. Milky-White Gender: Any Role: Jack's cow; can be portrayed by a child. Cinderella's Father Gender: Male Role: Neglectful father figure, non-singing role. Cinderella's Prince Gender: Male Vocal Range: B3 - D5 Role: Conceited man pursuing Cinderella. Cinderella's Mother Gender: Female Vocal Range: D4 - D5 Role: Comforts Cinderella in one short song. Rapunzel's Prince Gender: Male Vocal Range: B3 - D5 Role: Pompous brother involved in sibling rivalry. Cinderella's Stepmother Gender: Female Role: Mean woman prioritising her daughters. Cinderella Gender: Female Vocal Range: A3 - G5 Role: Peasant girl learning about wish consequences. Rapunzel Gender: Female Vocal Range: G4 - F#5 Role: Young woman in a tower standing up to the Witch.

Title:   Annie   Presented By:  National Academy of Performing Arts (NAPA) Genre:  Musical Theatre JUNIOR AUDITIONS Annie and Lead Orphans - Round 1 - Video Submission Seniors and Orphan Dancers Audition:  Sunday, 8 December 2024 at 11:00 AM - 12:00 PM Location:  NAPA Studios, Burleigh Heads Please note: all children will be accepted into summer school - auditions are to be placed into roles and ensemble groups. COST $475  includes all rehearsals, performances, costumes, and cast t-shirt. SUMMER SCHOOL REHEARSAL DATES January 13th:  10:00 AM - 2:00 PM January 14th:  10:00 AM - 2:00 PM January 15th:  10:00 AM - 2:00 PM January 16th:  10:00 AM - 2:00 PM January 17th:  10:00 AM - 2:00 PM JUNIOR ROLES AVAILABLE Ages 5+: Annie Molly Kate Tessie Pepper Duffy Orphans Ages 13+: Boylan Sisters Star to Be Hooverville Citizens NYC Citizens Warbucks Staff ADULT AUDITIONS Adult Audition Call:  October 28, 2024 - 6:00 PM Location:  NAPA Studios, Burleigh Heads ADULT ROLES AVAILABLE: Rooster Hannigan: Miss Hannigan's no-good brother looking for a quick buck. Rooster is flashy and self-assured. Strong dancer preferred. Age:  20+ Vocal Range:  G5 - B3 Lily St Regis: Rooster's girlfriend, who is also out for a quick buck. Requires natural comedic timing and strong singing and dancing skills. Age:  20+ Vocal Range:  G5 - B3 Lead Warbucks Household Staff: The servants at the Warbucks mansion, including Drake, Mrs. Pugh, Mrs. Greer, Cecille, and Annette. Age:  18+ Bert Healy: The ultimate radio personality who helps Annie in her search for her birth parents. Age:  30+ Vocal Range:  G5 - E4 President Roosevelt: The 32nd President of the United States and friend of Warbucks. Age:  40 to 60 Vocal Range:  F4 - Eb3 Ensemble: Servants, Boylan Sisters, Cabinet Members, Hooverville Citizens. Looking for strong triple threat performers with the ability to learn quickly. Please note, these are unpaid positions. ADULT REHEARSAL DATES December 8th: 10:00 AM - 4:00 PM January 4th: 10:00 AM - 6:00 PM January 5th: 10:00 AM - 6:00 PM January 6th: 6:00 PM - 10:00 PM January 8th: 6:00 PM - 10:00 PM January 11th: 10:00 AM - 4:00 PM January 12th: 10:00 AM - 4:00 PM January 13th: 6:00 PM - 10:00 PM January 14th: 6:00 PM - 10:00 PM January 15th: 6:00 PM - 10:00 PM January 17th: 10:00 AM - 2:00 PM January 18th: 11:00 AM & 6:00 PM January 19th: 11:00 AM & 6:00 PM January 24th: 6:00 PM January 25th: 11:00 AM & 6:00 PM Possible Extra Rehearsals: January 13th: 10:00 AM - 2:00 PM January 14th: 10:00 AM - 2:00 PM January 15th: 10:00 AM - 2:00 PM January 16th: 10:00 AM - 2:00 PM PERFORMANCES DATES January 18th:  11:00 AM & 6:00 PM January 19th:  11:00 AM & 6:00 PM January 24th:  6:00 PM January 25th:  11:00 AM APPLICATION LINKS Adults apply here:   https://napa.com.au/annieaudition Kids apply here:   https://napa.com.au/summerschool

Presented By:  Queensland Shakespeare Ensemble Genre:  Theatre, Shakespeare Audition Dates: 30th November 2024 from 2-6pm 1st December 2024 from 2-6pm Callbacks: 2nd December 2024 from 6-11 pm Audition Location: University of Queensland, St Lucia Application Due: Applications must be received by 5pm on 22nd November 2024. Registration: Applications accepted via email only at info@qldshakespeare.org Audition Requirements: Applicants should prepare two pieces from Shakespeare’s plays: one comic piece and one dramatic piece. Each piece should be 1-2 minutes long. The pieces do not need to be age or gender appropriate; choose texts with which you feel a personal connection. Callbacks will consist of group sessions that include voice work, Shakespearean exercises, and improvisation. Available Programs: Core Ensemble: Core Ensemble members are expected to prioritise QSE over other artistic activities. Members should be prepared to commit an average of 8 hours per week to their management portfolio across the year. In addition to artistic commitments, they will participate in business, planning, and artistic meetings. Apprentice Program: This program is designed for individuals who wish to enrich their craft through immersion in classical text and performance. No prior experience performing Shakespeare is necessary, making it an ideal opportunity for those looking to develop their skills in a supportive and engaging environment. Apprentices will receive extensive training in the Linklater voice method, movement, and QSE’s unique approaches to working with classical text. Additionally, apprentices will engage in various activities related to producing and running a theatre company. Cost:  $920 Advanced Apprentice Program: The Advanced Apprentice Program is designed for those who have completed QSE’s Apprentice Program, ideally prior to 2024. This program offers company and weekend training alongside the Core Ensemble and Apprentices, ensuring guaranteed involvement in the mainstage production. Participants will receive mentorship in various aspects of company operations and attend specialised monthly sessions exploring the theory and practice of ensemble theatre. Cost:  $1,050 Application Requirements: A high-resolution headshot (ideally A4 size) Acting CV Non-acting CV or description of relevant non-acting experience A one-page cover letter including: The program you’re auditioning for Contact details Preference for audition time Reasons for wanting to work with QSE Self-assessment of strengths and challenges as an actor Time restrictions for audition if applicable Rehearsal Dates: Regular Advanced Training will be held Wednesday evenings from 26th February to 16th April 2025, with additional commitments for Core Ensemble members. Production Website: Queensland Shakespeare Ensemble Auditions Other Information: QSE encourages applications from diverse backgrounds, including First Nations artists, artists of colour, LGBTQIA+ artists, neurodiverse artists, and artists with disabilities. Important Dates: To be accepted, you must be available for the following dates in 2025: Portfolio meeting: Sunday 19th January, 6-10pm Initial company meeting: Sunday 9th February, 6-10pm Residential Training Intensive at Minjerribah (Stradbroke Island) : 17th-23rd February (includes travel days) Regular Advanced Training: 6-10pm Wednesday nights from 26th February to 16th April, with a public sharing the week after Easter (must be available evenings 22nd-26th April) Training in voice and acting: Weekends from 1st-2nd, 8th-9th, and 15th-16th March, 9 am-5pm Monthly Meetings: Second Sunday evening of each month from March through July.

The production of ' Alice by Heart' by Queensland College of Dance immerses the audience in a fantastical reinterpretation of Wonderland. This musical adaptation transforms Lewis Carroll's classic tale into a darkly emotional journey, fusing fantasy with the grim realities of World War II. Created by Duncan Sheik and Steven Sater, known for their work on ' Spring Awakening' , the narrative follows Alice Spencer as she recounts the tale of ' Alice in Wonderland' off by heart to seek solace from the turmoil of the London Blitz and provide comfort to her gravely ill friend, Alfred. As the audience enters, the cast is already on stage, busying themselves in the claustrophobic confines of an underground bunker. By having the cast move on and off the stage and through the aisle, the staging brings the entire experience closer to the audience, making you feel as if you’ve stumbled into the bunker and Wonderland right alongside Alice. The stage setup is detailed, making use of all available space - bunks, clotheslines, a quarantined zone, a ladder. A large hole in the back wall serves as a visual portal with projections inside. As the images shift from the war-torn world of 1940 to the swirling vortex of descending down the rabbit hole leading to a Wonderland covered in falling ash, the lines between reality and fantasy becomes increasingly blurred. An outstanding aspect of this production lies in its immersive quality. Through lighting, sound, choreography, and costume design, spectators are transported from the grimy, harsh reality of a bunker in the London Underground to the enchanting world of Wonderland. During 'Down the Hole,'  the costumes subtly change as the characters assume their Wonderland personas. The stunning lighting draws you in at every turn, and when the Blitz’s bombs and sirens echo through the theatre, it feels as if you're hiding in the bunker yourself. Plus, the live music conducted by Ben Murray was so well-executed that I thought it was a recorded track. The show's dialogue stays true to Lewis Carroll's nonsensical, riddle-filled style, but don't worry if you don't catch every meaning—the whimsical madness is meant to be felt, not understood. The show is also notable for its commitment to credible English accents. It is obvious that Tess Hill's choreography is exceptional and deserves to be witnessed firsthand. Taea Patterson-Fahy, in the role of Alice Spencer (sharing the role with Mabelle Maynard), brings a maturity beyond her years. Taea’s Alice is both whimsical and defiant, and as the story progresses, you sense her desperation to stay in Wonderland, clinging to its madness to keep her connection to Alfred (Ryan Eugarde), who plays the White Rabbit and Alice’s closest friend. Taea's vocal delivery is strong and steady, while her stage presence adeptly captures both Alice’s youthful wonder and her profound fear of loss.   Ryan's portrayal of Alfred and the White Rabbit is highly memorable. His voice, smooth and captivating, carries the sorrow and urgency of a boy racing against time. He balances his playful Wonderland persona with the underlying sadness of his real-world situation. The makeup team deserves a special mention here — his sickly pallor, accented by rouge, makes him look convincingly tubercular. The ensemble cast is a flurry of characters, with each member pulling double duty as a bunker resident and a Wonderland figure. Kiara Brunker’s Tabatha, who transforms into the Cheshire Cat, stands out especially. She embodies the feline nature as she moves gracefully across the stage, and her performance of 'Those Long Eyes' is gorgeously staged with waltzing couples. In one of the eeriest songs 'Chillin’ the Regret' , the Caterpillars, portrayed by Demi-Ann Klocek and Michaela Aitchison, lure Alice with surreal seduction in a smoke-filled scene that feels both playful and dangerous. Attention to detail has been given to every single aspect of this show, like the caterpillars’ intricate cloaks and hair styles. Every design choice is intentional and adds to the show’s layered interpretation of Lewis Carroll’s world. Antonia Djordjevic delivers a haunting performance as Dr. Butridge, who transforms into the menacing Jabberwocky. The all-out group number 'Brillig Braelig' becomes quite confrontational as Alice attempts to reach Alfred, with the ensemble preventing her from doing so. It’s moments like these that show the sheer talent of this young cast, able to switch from whimsy to sinister in a moment. The ensemble really captures the organised chaos in these group numbers, including 'Sick to Death of this Alice-ness,' staged during the Mad Hatter’s tea party. Emma Johnstone as the Mad Hatter, Chantelle Turnbull as the Dormouse, and Allie Parsons as the March Hare are a formidable trio, bringing madness and hilarity in equal measure that had me feeling as overwhelmed as Alice herself. The nonsense gives way to a sudden shift in tone as Alice lashes out at Alfred, shouting “I hate you for getting sick!” It's a powerful moment of raw emotion that leaves the audience reeling. In “Isn’t It a Trial?”, Kasey McKenzie commands the stage as the Queen of Hearts, delivering a performance that is both fierce and poised. Her musical showdown with the Caterpillars is excellent, showcasing her vocal strength and her character's regal, yet petulant, nature. And even from the back rows, her sharp, sour expression is visible and captivating. Meanwhile, Ines Hayman brings a manic energy to the lesser-known role of the Duchess. In "Manage Your Flamingo," set amidst the chaotic croquet game, she transforms her minor role into a scene-stealer, injecting each moment with vivacity. The Mock Turtle scene is also a riot, with Ashlee Hawe’s dramatic portrayal of the melancholic turtle, supported by the hilarious interactions with Allie Parsons, Maddison Markham, and Chantelle Turnbull as fellow mock turtles. The heart of the production lies in its exploration of grief and the comforting escape of storytelling. ' The Key is in You ' stands out as a hauntingly beautiful piece, with Taea shining in the midst of stunning group choreography that incorporates the overhead lifts from the original production. Another particularly gut-wrenching moment is the tender song 'Still,' where Alice desperately tries to hold onto Alfred by lingering in her retelling of their beloved childhood story. The chemistry between Alice and Alfred, and the emotional weight of watching her grasp at memories, elicits a true sense of sorrow. These more emotionally-charged moments of the musical are particularly impactful: 'Your Shell of Grief' stirs deep emotions, while the tender duet 'Another Room in Your Head' blossoms into a moving group performance with lush harmonies, and 'Some Things Fall Away' sees the Cheshire Cat comforting Alice as she grapples with the painful realities of grief. The cast's vocal delivery during these scenes effectively captures the stages of denial, sorrow, and eventual acceptance. The final numbers, 'Afternoon' and 'Winter Blooms,' are a touching farewell, with Alice finally letting go of her dear friend - so genuine that the actress was visibly moved to tears and beautifully framed by the lighting design. These closing numbers tie the narrative together, not as a whimsical escape, but as a reflection on the inevitability of loss and how we cope with it. It’s a testament to the depth of emotion these young performers have been able to access while rehearsing this show. There are, of course, a few rough patches—occasional flat notes and moments of visible nerves—but for a young cast at the start of their musical theatre journeys, their passion and commitment in every scene are undeniable. Queensland College of Dance has taken on the mammoth challenge of staging ' Alice By Heart' ', but under the expert direction of Jacqui Devereux and Tim Hill, they've crafted a production that's both touching and visually captivating. The students rise to the occasion with remarkable dedication and talent, making this show not only a valuable learning experience for them but also an enchanting evening for the audience, filled with music, madness, and magic—through a story that everyone knows... but not quite like this. As Alice says goodbye to Alfred and the rabbit hole closes for the last time, you’re left with the bittersweet echo of her story—a deeply emotional journey through love, loss, and the importance of finding comfort in stories, even in the darkest of times. Tickets available here Photographs by Ines Hayman and Peter Cabral Photography *Apologies for any incorrect pronouns used in this review, as they were not specified in the program. I am more than happy to make any corrections if needed—please feel free to point them out to me. Thank you for your understanding!

An Emotional Journey of Sisterhood, Secrets, and Self-Destruction Yeah Nah Theatre presented their first mainstage production of "Young Bodies/Somebody's" under the direction of Mikayla Hosking. Set against the backdrop of an ordinary Aussie family’s fractured home, this 60-minute play weaves together the stories of two sisters, June and Anna, along with their mother Dawn, as each individual confronts their own personal demons while grappling with life’s relentless pressures. In the opening scene, the audience was met with the sight of these three women gazing into mirrors, manipulating their faces and bodies as if willing them to change—a visual metaphor for the profound insecurities that fuelled much of the narrative. Miranda Michalowski’s script was masterfully written and delivered, offering a nuanced exploration of a family fractured by divorce. The contrasting narration revealed how each character's struggles were deeply rooted in their insecurities and personal traumas. While the sisters, Anna and June, appeared to be opposites on the surface, their undeniable bond shone through as they navigated the weight of the unspoken truths lurking beneath their façades. The set was cleverly designed to represent the distinct spaces of the sisters’ lives. Their bedrooms sat side by side, with shared bathroom sinks between them, visually illustrating their physical proximity yet emotional distance as they transition to adulthood. June’s room, tidy and organised, stood in stark contrast to Anna’s chaotic, messy space. Mirrors lined all three walls, adding to the thematic depth of self-reflection and fractured identities. June, the younger of the two, played with a quiet intensity by Roxanne Ruby, was driven by her need for control. A university student and competitive swimmer, she spiralled into disordered eating, hiding her fixation and anxiety from her family. Roxanne's portrayal of June felt eerily relatable, capturing the anguish of someone who is driven by their own self-imposed need for perfection. One of the most impactful lines in the play was when June expressed, "I wish it didn't have to hurt so much... Being good." Roxanne's emotional depth was truly something to behold, particularly as she held back tears while attempting convey the overwhelming burdens she carries. I couldn’t help but resonate with June’s self-doubt and insecurity, especially in the way she likened herself to a bloated Violet Beauregarde from " Willy Wonka" . It was a moment that hit close to home for anyone who has battled with body image.   In contrast, Anna, brought to life by Meg Bowden, was a whirlwind of chaotic energy. Her nights spent in bars and clubs, seeking validation through strangers’ eyes. Beneath her outward bravado lay deep-rooted insecurities that she masked through attempts to justify her choices, trying to convince both herself and others that she was perfectly fine. Her comedic timing provided moments of levity in a story that could otherwise have felt overwhelmingly heavy. She made the audience chuckle with her witty quips, but beneath her carefree attitude was a character masking her own fragility. The rapport between these performers was natural and easy, making the sisters' relationship feel incredibly authentic. The actresses brought both the playful sibling banter and intense arguments to life. A particularly powerful moment was when June exploded at Anna, accusing her of being directionless and careless with her life. The raw emotion in this scene was intense, and it was here that Roxanne shone, showcasing June’s deep frustration and inner turmoil. In contrast, Meg handled Anna’s vulnerability beautifully, showing us the tenderness she tried so hard to conceal.   Janelle Bailey, playing the sisters' mother, Dawn, offered a strong, sharp performance. Dawn's snide comments carried more weight than she likely realised, and Janelle captured that unintentional harshness perfectly. Some of Dawn's lines felt like a slap, and the audience could feel the heaviness in those moments. Her complicated relationship with her daughters – June, with whom she shares body image insecurities, and Anna, with whom she shares poor choices in men – was a dynamic that was both complex and expertly handled. Their interactions were charged with a blend of affection, frustration, and misunderstanding. The staging was superbly done, with the use split scenes to capture the sisters’ private worlds. One such scene stood out: June narrating her emotions during an intense swim training session, while Anna shared her inner thoughts while undergoing an STI check. The juxtaposition between the two was darkly humorous, revealing the different ways in which the sisters sought validation and control in their lives. Another memorable split scene came when the sisters, each in their own room, were engrossed in their phones—Anna watching adult videos while June obsessively consumed weight loss tips. Their overthinking spiralled simultaneously, leading to a synchronised sequence with June doing sit-ups and Anna making similar noises while... well, you know. This created an amusing yet pitiful moment that encapsulated their individual battles. Michalowski’s writing and Mikayla Hosking's direction deftly balanced these moments of sharp wit with devastatingly vulnerable realities. The play’s conclusion was deeply satisfying as the sisters came to understand one another in a way they hadn’t before. June’s realisation of her own illness and Anna’s determined resolution to help her little sister clear out her “brain junk” brought me a sense of relief as the sisters chose to heal together. "Young Bodies/Somebody’s" is a deeply resonant play that speaks to the universal struggles of womanhood, particularly for those navigating the transition from girlhood to adulthood. YeahNah Theatre made a strong impression with this production as their mainstage debut, bringing together talented local performers, an engaging script, and a strong creative team. The audience was left with the sentiment that although life may never be perfect, there is comfort in knowing that we are not alone in our struggles.

Presented by Sun and Wine Arts Company in their debut performance, "Playthings" by Scott McArdle provides a raw and intricate look into the minds of 13-year-olds navigating the complexities of the adult world around them. The familiar sights, sounds, and culture of small-town Australia are embedded in the story, immersing the audience in the world of Lucy and Arnold. The show opens with an unexpectedly morbid yet attention-grabbing question: “Have you ever seen a dead body?” as Lucy leads Arnold into the bush to witness a dying kangaroo. This unusual beginning sets the tone for the strange and unpredictable journey that follows. Dylan Komoff delivers a striking performance as Arnold, showcasing his jittery and anxious character with great skill. His portrayal on stage feels incredibly authentic, with purposeful nervous energy radiating in every interaction, particularly when paired with Rose Swanepoel's Lucy, who is the complete opposite—tough, unfiltered, and a bit unhinged. Lucy shows affection through sharp insults and carries an edgy, unpredictable attitude. Her delivery blends humour and severity, effectively portraying a teenager still trying to figure herself out while using her toughness to mask the vulnerability underneath. Dylan demonstrates innate storytelling abilities through his monologues, particularly when recounting the carrot spew incident and the ensuing fist fight. Through the tumultuous narration of Arnold's father's passing, Dylan masterfully captures the essence of his character as someone caught between the innocence of childhood and the harsh realities of adulthood. As the story progresses, Lucy’s bitterness toward her parents grows, hinting at deeper family issues that remain unverbalised. Her interactions with Arnold, however, retain childlike innocence and reckless adolescence. At times, they appear like typical kids simply trying to survive school, while at others, they are grappling with much darker, more traumatic realities—including custody battles and the emotional fallout of sexual assault. Arnold provides a comforting presence as he tries to distract his volatile friend from hurting herself or others, highlighting his unwavering loyalty and deep care for Lucy. Laura Renee portrayed Miss Richards, their Grade 9 teacher. As a fellow educator, I found her portrayal incredibly relatable. She embodies the burnt-out yet caring teacher archetype, with a palpable bitterness stemming from years of dealing with teenagers. Yet beneath that exterior lies an undeniable compassion for her students. Her interactions with Lucy and Arnold are genuine, layered with empathy, especially during her discussion about the English assignment, where Arnold draws inspiration from his own life for the horror story task. One of the most charming aspects of the show is the balance between Lucy and Arnold’s strange yet endearing friendship. Lucy clearly grapples with her emotional turmoil, her anger towards her parents simmering just beneath the surface, especially concerning her stepdad, Rhys (Ben Kasper). Rhys is hilariously goofy, trying his best to manage Lucy’s rebellious nature, which often leads to some of the play's funniest moments. The audience burst into laughter at nearly every line he delivered, particularly during his awkward attempts to bond with Lucy over Labyrinth . One of the most striking aspects of the show is how it tackles heavy themes without losing its light-hearted core. Even as the narrative takes darker turns, the script—supported by Hamish Chappell's direction and the actors' performances—maintains a sense of humour that keeps the story from becoming too heavy. Additionally, Hamish Chappell has ensured that each character feels fully fleshed out, from Lucy's wild unpredictability and Arnold's endearing awkwardness, to Rhys' goofy charm and Miss Richards' jaded, yet caring nature. The young lead actors deliver performances well beyond their years, bringing an impressive depth and emotional range to their roles. Overall, this production offers a heartfelt, sometimes dark, but often humorous exploration of growing up and grappling with adult problems before you're ready. Photos by Claire Yorston Now playing at Backdock Arts Tickets available here

Roar Academy's production of Newsies Jr. at the Redcliffe Entertainment Centre was filled with energy, heart, and an inspiring message of unity. Directed by Madeleine Johns, this junior version of the beloved film and Broadway musical had me hooked right from the first note of "Santa Fe" to the uplifting finale "Carrying the Banner." These young performers learned the entire show in a such short period and still delivered a highly professional and polished performance. Newsies  is based on the true story of the 1899 Newsboys' Strike in New York City. The newsboys, many of them orphans or homeless children, fought against powerful newspaper publishers like Joseph Pulitzer and William Randolph Hearst after they raised the price of newspapers, cutting into the boys' already meagre earnings. Led by the charismatic Jack Kelly, these boys banded together to strike, demanding fair treatment. Their successful strike became one of the first victories for child labour reform in the United States, a heartwarming reminder of the power of unity in the face of adversity. Miguel Gambley truly shone as Jack Kelly (understudy to Anthony Van Stam). His spot-on New York accent and charismatic stage presence really pulled the audience into the vibrant world of 1900s New York City. His rendition of "Santa Fe" was brief but oh-so-beautifully done, showcasing Miguel's impressive vocal and emotional range. Miguel’s performance was particularly impressive in the way he used his whole body to act, so you could really see his yearning for a better life, and it made his leadership of the strike even more compelling. Likewise, Zoe Hitchcock, playing Katherine Plumber (shared with Abbie Gommers and Tessa Parrish), demonstrated a natural talent for the stage and delivered an impressive performance during her solo of the challenging piece "Watch What Happens. This was my first time seeing Newsies  on stage (can you believe it?!) The cast, a hundred voices strong indeed, brought life to the score with powerful vocal harmonies, curtesy of Rhonda Davidson-Irwin and Josie Ross. This production had no dull spots, as every scene was packed with energy and purpose, a testament to the talented choreographers Meredith Johns and Kayla Pehi. The ensemble cast really brought the house down, with Leo Chick as the endearing Crutchie (shared with Miguel Gambley) and Toby Bailey as Davey (shared with Lucas Van Stam). Alongside Miguel, they led the high-energy and tight harmonies of the rousing group numbers. "Carrying the Banner" set the tone with its superb vocal blend and dynamic choreography. And the dancers really had their moment to shine during the tap break in “King of New York." A special shoutout to Tylah-Jay Foster for busting out the worm on stage—what a fun moment! Zahlee Brackstone as Medda Larkin (shared with Tylah-Jay Foster) was a joy to watch in "Just a Pretty Face." Her backup dancers did a fantastic job too; although a friendly little nudge to add some smiles would have really elevated that number, adding that extra polish to an already strong song. Nevertheless, Zahlee’s confidence and charm shone through, lighting up the whole scene! Jonny Sweeper’s portrayal of the villainous Mr. Pulitzer was haughty and menacing, providing the perfect contrast to the hopeful and determined newsies. The bond between Davey and his little brother Les, portrayed by Daya Sudhi (shared with Kirill Yaremchenko), was such a heartwarming aspect of the show. What truly stood out to me was how the cast captured the hardworking spirit of their characters; it’s clear that they embody those qualities in their own lives. I think Roar Academy made a brilliant decision to cast multiple actors in key roles; it really highlights the sheer amount of talent at their academy and keeps each performance fresh and exciting! One of my personal highlights was “Seize the Day,” where Davey leads the vocals, and the dancers take centre stage in a stunning display of choreography. The energy in the theatre was electric as the newsies prepared for their strike, making the end of Act 1 feel like a rallying cry for justice. By the time we reached "The World Will Know," I was certain that this would be my favourite junior production of the year. The cast's passion and determination, especially in that number, really stood out and definitely left a lasting impression! Jonathan Johns' industrial set design and Madeleine Johns' period costumes transported us into the Disney-fied world of the newsboys! Despite a few technical issues with microphones, the cast powered through and it was clear that they were giving it their all. One of the most powerful moments was the staging of "Once and For All." The cast truly came together here, creating a sense of urgency and purpose that could rally an audience just as Jack Kelly rallies the newsies.   This production of Newsies Jr. that had all the spirit, energy, and professionalism of a full-scale production. They not only entertained us but also reminded the audience of the power of unity and resilience. It’s a heartwarming tale about ordinary kids banding together to make their voices heard—fighting for a job that might not exist anymore, but sending a message that still resonates today just as much as it did in the past.

Second Star Youth Theatre has truly launched itself into the Brisbane arts scene with its heartfelt production of 13 JR. This musical, featuring a fantastic rock score by Tony Award-winning composer Jason Robert Brown, tells the story of Evan Goldman, a preteen uprooted from his bustling New York life after his parents’ divorce and plopped into the “Lamest Place in the World”. The show’s premise—navigating the chaos of adolescence, fitting in at a new school, while planning a Bar Mitzvah—was not only relatable for its young characters but thoroughly entertaining for all ages. Directed by Lauren McNamara and choreographed by Sonya Wyer, the production showcased a cast of 14 talented young performers, aged between 10 to 17, who embraced their roles with enormous enthusiasm. Despite the limited rehearsal time of just six days, the cast displayed remarkable stamina and commitment, delivering lines and songs with impressive confidence.   Each character was well portrayed, with Harry Zappert leading the charge as the protagonist and narrator Evan Goldman. Zappert perfectly embodied the desperate struggles and hilarity of a kid trying to navigate the treacherous waters of a new school. His performance was a rollercoaster of emotions, swinging effortlessly between vulnerability and determination. Zappert remained on stage for most of the show, exuding energy and purpose consistently, making it clear why he was chosen for the lead role. His vocal performance impressed, especially in "A Little More Homework," which brought emotional closure to Evan’s journey, and in the lightning-fast "All Hail the Brain." Ainslie Orcullo Ryan, in the role of Patrice, brought a sincere emotional depth to the character, particularly during her touching solo, "What It Means to Be a Friend," which left many audience members with a lump in their throats. She radiated a joyful spirit while also delivering moments of poignant sadness that were deeply moving. Her voice stood out as one of the strongest. The duet between Patrice and Evan in "Tell Her" showcased their chemistry and beautiful harmonies that felt like a warm hug for your ears. Paradox Sader brought a unique charm to the character of Archie, nailing the character's mix of anxiety, dark humour, kindness, and a touch of eccentricity with authenticity. He handled some of the show’s best comedic lines, and his solo “Get Me What I Need” was hilarious as he chased Evan across the stage in a wheelchair. Neve Isles fully embodied the role of Lucy, delivering powerhouse vocals in "Opportunity" and "It Can't Be True" while bringing just the right amount of attitude to make her presence felt, even when she wasn’t in the spotlight. Harry Morgan captured the layered complexity of a Brett: the jock, bully, and sensitive soul. His singing was notably impressive and memorable, especially considering his age. Ainsley Stewart portrayed Kendra as the quintessential air-headed cheerleader stereotype, rounding out the main group of characters with her fun presence. The comedy throughout the production was expertly crafted, with moments that had the audience erupting in laughter. Notably, the dynamic duo of Malcolm (Sacha Fleming) and Eddie (Ethan Bailey) delivered a sidesplitting rendition of "Bad Bad News," proving they are natural comedians who know exactly how to work a crowd.   One of the standout moments of the musical was the hilariously exaggerated scene during "Any Minute," where the group of preteens find themselves watching an R-rated horror film at the cinema. The cast’s over-the-top reactions brilliantly captured the absurdity and chaos of the situation and had the audience erupting with laughter. On that note, the script’s comedic elements were an unexpected surprise, offering plenty of laughs for all ages. It’s rare to come across a junior musical that I haven’t seen before and instantly loved, and even rarer to find one with a 'no-skip album', but 13 JR.  certainly fits the bill. Second Star Youth Theatre made a brilliant choice in staging this as their debut production, striking the perfect balance between humour and heart. The choreography throughout the show was lively and engaging, particularly during “Brand New You” and “All Hail the Brain.” The ensemble's energy and connection were palpable, and it was hard to believe that they had only known each other for a mere six days! The direction by Lauren McNamara, was spot on, allowing the youthful vigour of the performers to shine while maintaining the show's core themes of friendship and the struggle for acceptance. Speaking of acceptance, a particularly commendable aspect was the inclusive casting of Archie, a character with a disability, portrayed by the actual disabled actor Paradox Sader. This casting, coupled with the fully accessible venue, speaks volumes about the company’s commitment to representation and inclusivity. With only two performances, and the final one completely sold out, it’s clear that the team behind 13 JR.  crafted something truly special. I feel fortunate to have witnessed their inaugural production, powered by such a passionate and talented group of young artists. I left the theatre with a smile on my face, humming the many catchy tunes of the soundtrack, and with a renewed sense of hope for the future of community theatre in Brisbane. It's safe to say that these actors, especially Harry, other Harry, and Ainslie, are destined for even more stage success, and I eagerly await everyone's next endeavours. I’m also looking forward to seeing what Second Star Youth Theatre brings to the stage in 2025!