Title: Alice in Wonderland Presented By: Ballet Theatre Queensland Genre: Ballet About: Ballet Theatre Queensland invites passionate young dancers to audition for their 2026 season of Alice in Wonderland. This immersive experience provides dancers with the opportunity to train and perform in a professional ballet environment. From rehearsals to full-scale performances at QPAC, this production offers a comprehensive artistic journey for developing dancers aged 8 to 22. Alice in Wonderland is a bold new ballet set in a 1930s Hollywood sound stage, where syncopated tea parties, flamingo showgirls, and film-noir fantasy collide. With original choreography by Clare Morehen, a dazzling jazz-infused score by Lucas D. Lynch, lucious costumes by Rebekah Ellis and fantastical sets by Josh McIntosh, this is adventure like you’ve never seen before. Lights, Camera.... Wonderland! Audition Registration: Applications are now open and close 5pm, Friday 6 June Apply Now Audition Date: Junior Apprentice and Junior (Ages 8+): Saturday 14 June 2025 Intermediate and Senior: Saturday 21 June 2025 Audition Time: Dancers must be available 9am–5pm on the audition day. Final times, including potential call backs, will be emailed 1 week prior. Audition Location: 57 Hayward Street, Stafford QLD 4053 Audition Self-Tape Due (if applicable): Prior to relevant audition date (14 or 21 June) Audition Requirements: In-person audition (preferred) includes a ballet masterclass, potential repertoire, and acting exercises Video auditions must include barre and centre work (including pointe for Intermediate and Senior levels) Minimum RAD Grade 2 (or equivalent) Age 8+ as of 27 July 2025 Pointe requirements: Intermediate: minimum 1 year of pointe training Senior: minimum 2 years of pointe training Available Roles: Multiple ensemble and featured roles across four levels: Junior Apprentice (approx. ages 8–10) Junior (approx. ages 10–12) Intermediate (approx. ages 12–14) Senior (ages 14–22) Performance Dates: 19–25 January 2026 Performance Location: Queensland Performing Arts Centre (QPAC), Brisbane Rehearsal Dates: Orientation Day: 27 July 2025 Weekly rehearsals during Term 3 and 4 (Sundays) Intensive rehearsals: 21–27 September 2025 12–17 January 2026 (compulsory) Rehearsal Times: Typically 9am–5pm, Rehearsals initially at 57 Hayward St, later moving to 12 Windorah St, Stafford Warnings: Intensive rehearsal schedule; commitment to full season required Recommended Age: Dancers aged 8–22 (must meet training prerequisites) Production Website: https://btq.com.au/opportunities/alice-auditions/ Other information: Company Fee: $2,100 (includes rehearsals and performance week) Dancer Application Fee: $50 Scholarships available: Phyllis Danaher Memorial Scholarship Jodie White-Bivona Memorial Scholarship Additional bursaries available upon request Additional costs may include uniform and performance make-up, tights and shoes. All applicants must audition; no roles pre-cast Equal opportunity for dancers from all schools

When I sat down to watch Firebringer: A Stone Age Musical , I wasn’t entirely sure what to expect. I mean, I knew it was a StarKid show, so I braced myself for chaos, silliness, and probably a toilet joke or two… but nothing quite prepared me for the absolutely bonkers and joyful absurdity that unfolded at PIP Theatre. Even stone-cold sober, I was still laughing harder than I have in ages. Under the direction of Louella Baldwin (with Isabelle Quayle as assistant director and choreographer, and Benjamin Richards for musical direction), this prehistoric fever dream was a triumph of committed comedy, unexpected heart, and brilliant performers leaning into the madness with full force. It’s a credit to Baldwin’s direction that a show this campy still felt oddly grounded and coherent in its own internal logic.   From the get-go, the show leapt into action with pounding drums, a wild ensemble number, and Rae Rose’s Molag—our narrator—welcoming us to the prehistoric past. Rae is always comedy gold. They bring this magnetic, spontaneous energy that makes it feel like you are in for something unpredictable—and it's all the more hilarious because of it. Their choice of accent alone had me chuckling within seconds. It’s always a joy to watch a performer so confident and comfortable in their comedic skin.   The cast as a whole was a beautifully cohesive tribe of misfits. Lucy Ross anchored the show as Jemilla, the Peacemaker (and occasional buzzkill). Her take was beautifully balanced—authoritative without being cold, nurturing without being soft, and fabulously fluid in her queerness. She belted her heart out in “Jemilla’s Lament” and led with the kind of passion you’d expect from someone trying to manage a tribe that worships a duck as their deity. You know, the usual.   Then came Zazzalil—played by Kaitlin Evans—storming the stage with the frenzied energy of someone who’s one spark away from inventing fire, yet also one nap away from giving up entirely. Zazzalil was instantly relatable in her desperate desire to just be lazy all day. Total mood. Vocally, Kaitlin was an absolute force, as they needed to be, appearing in almost every number! “Into the Night” and "The Night Belongs to Us" closed out Act One with such power and emotional punch that I genuinely got goosebumps (likely due to Lucy's Defying-Gravity-war-cry ending). Speaking of standouts, the other Kaitlin—Kaitlyn Burton as Keeri—was an absolute riot as Zazzalil's blissfully oblivious sidekick, just floating through in her own little world. Her physical comedy was utterly insane and utterly perfect. I don’t know what she was doing half the time, but I wanted more of it. Honestly, I could’ve watched an entire spin-off about Keeri and I'd still be craving more!   Ally Hickey as Emberly and Kyle Armstrong as Grunt brought genuine sweetness to “Just a Taste,” a duet that somehow made leaf and berry sandwiches the new aphrodisiac. Their chemistry was adorably quirky, hitting that sweet spot between awkward, endearing, and downright bizarre. Then came their later number, “Paint Me,” which had me absolutely floored. Equal parts poetic and grotesque, it took the concept of poop painting (yes, you read that right) and turned it into something weirdly moving and almost…beautiful? The duo delivered it with such wide-eyed sincerity that you couldn’t help but fall in love with them a little. Plus, I’m a sucker for a well-executed harmonic duet.   Keeping the comedy alive, Christopher Batkin as Smelly Balls (yes, that’s the character’s name, and no, I won’t elaborate) and Reagan Warner as Ducker, the spokesperson for their duck deity, both leaned into the play’s ludicrous tone with full commitment. Every line was delivered with such conviction and nuance that I laughed every. single. time. And in a more grounded but equally hilarious form of comedy, Isaac Brown as the fabulously fairy-like Neanderthal was pure joy. With an air of quiet sass and a twinkle of chaos behind every movement, he brought the kind of understated camp that sneaks up on you and steals every scene. His improvisation was razor-sharp, presence magnetic, and role as part of Jemilla’s new fancy, peace-loving tribe of Neanderthals? Absolutely inspired. Madeline Harper stunned as Schwoopsie with some delightfully terrible jokes and jaw-dropping vocals in “The Night Belongs to Snarl.” All these weeks later, I still can’t stop saying Schwoopsie! I bet she can’t either. And Ruby Gleeson as Tiblyn: she went from adorable sky-holder to philosophical nihilist in about two scenes, and it was both hilarious and oddly poignant. Watching her spiral about the meaninglessness of life was such a vibe. Loretta Melit’s Chorn had literally one word—“Chorn”—but somehow kept it fresh and funny every time. No notes. Just Chorn. The group numbers were a real highlight, with “Welcome to the Stone Age” and “We Got Work to Do” absolutely nailing the big ensemble choreography (shoutout to Isabelle Quayle). The harmonies in “The Night Belongs to Us” were heavenly, and the closing duet “Together” between Zazzalil and Jemilla, followed by the full-cast finale, left the whole theatre buzzing.   Design-wise, the costumes and hair were fabulously detailed, with a charmingly DIY prehistoric aesthetic. And I cannot not mention the giant puppets—the sabretooth tiger and mammoth puppets were legitimately awesome. I hope someone kept those. I want them at my next birthday party. The 5-piece band, led by Benjamin Richards, was excellent and totally nailed the eclectic StarKid sound, complete with full marimba (cool!) and a whole lot of percussion. The audience was absolutely losing it the whole time. They were cackling, cheering, and belly-laughing like a bunch of hyenas. It was as if everyone walked in clueless (like my guest) and left thoroughly converted to the Church of the Almighty Duck. Naturally, it wouldn’t be a StarKid show without some sharp commentary hidden amidst the chaos. The act two opener “Climate Change”—featuring the completely unironic line, “Maybe we could change the climate permanently if we burn enough stuff”—was just chef’s kiss . Hilarious, painful, and disturbingly spot-on.   I’d only ever seen bits and pieces of Firebringer online, so I had no idea where it was going at any given moment—which honestly made it even better. Every twist was more bonkers than the last, and I loved every minute of it. Was it ridiculous? Absolutely. A little coarse in places? You bet. But it was also witty, musical, heartfelt, and completely joyous. This production captured the show's chaotic essence and turned it into something truly special with an incredibly talented cast. If you ever get the chance to see Firebringer , do it (it's on Youtube). And maybe bring a drink. Or a duck. Just don’t blame me when you’re still quoting ‘I don’t really wanna do the work today’ weeks later. Photos by Stage Shots and Lavender Prod

Title: Audrey and the Enchanted Adventure Presented By: kbe Events and Phoenix Ensemble Genre: Children's Theatre / Adventure / Fantasy Synopsis: Audrey can’t decide what story she wants at bedtime, so her mum decides to combine her three favourites into one! But when Peter Pan comes looking for Tinkerbell, Audrey is swept away on an exciting journey. A flying mishap, a missing fairy, a tumble down the rabbit hole and a Wonderland in need of saving from a very angry Snow Queen – this might just be Audrey’s best bedtime ever! Audition Date: Sunday 18 May 2025 Audition Time: 10:00am – 4:00pm Audition Location and Address: The Theatre Factory, 1/433 Wondall Road, Wynnum West QLD Audition Requirements: Prepare two contrasting monologues, one of which should be aimed at children (can be from a fairytale or children’s story) Be prepared for cold reads from the script If callbacks are required, auditionees will also participate in improvisation activities High energy performances and physicality are essential All auditionees must be over 18 and hold a valid Blue Card before performances begin Audition Registration: Register to Audition Audition Pack: Download Audition Pack Available Roles: Audrey – a 9-year-old girl, clever and adventurous (female presenting) Peter – classic Peter Pan, playful and youthful (any gender presenting) Actor 1 (Femme) – Audrey’s Mum (voice-over), Tweedle Dum, Queen of Hearts Actor 2 (Femme) – Tweedle Dee, Caterpillar, Snow Queen Actor 3 (Masc) – Doorknob, Snowman, Mad Hatter, King of Hearts Performance Dates: Monday to Friday, 30 June – 4 July 2025 Monday to Friday, 7 – 11 July 2025 (Performances will be released in stages depending on ticket sales) Performance Times: 10:00am and 2:00pm daily Performance Location: Phoenix Ensemble, Beenleigh Showgrounds Rehearsal Dates: Sundays – 25 May, 1 June, 8 June, 15 June, 22 June Rehearsal Times: 9:00am – 4:00pm Rehearsal Location: The Theatre Factory, Wynnum West Tech Rehearsals: Sun 22 June (6pm–10pm) – Bump In Tue 24 June (7pm–10pm) – Lighting Plot Thu 26 June (7pm–10pm) – Tech Rehearsal Sat 28 June (9am–12pm, TBC) – Dress Rehearsal Sun 29 June (7pm–10pm, TBC) – Preview Warnings: High energy and physical activity required Bright lights and loud sounds (discussed and explained to audience before show) Working With Children Check required Required Age: All actors must be 18+ Creative Team: Producer: Kym Brown Writer / Director: Kristen Barros Production Website: kbenterprises.com.au Other information: This is a profit share production. All cast members will receive contracts and participation agreements upon casting. Performances are designed to be accessible, with actors introducing themselves, their characters, and any sensory elements at the start of each show. The venue is wheelchair accessible.

The Wild West galloped into Brisbane with a yee-haw and a wink in Calamity Jane , a rollicking musical comedy about the iconic frontierswomen. Queensland Theatre teamed up with One Eyed Man Productions, Neglected Musicals, and Hayes Theatre Co., to wrangle the rebellious spirit of Calamity for a rootin’-tootin’, rip-roaring reimagining at the Bille Brown Theatre—and what a riot it was. On opening night, the saloon bar and photo op space welcomed us into the world of Deadwood, complete with piano plonking and cast members moseying through the crowd. I rocked up in cowboy boots and all—and I wasn't the only one (the dress code was Wild West chic , after all). The audience was buzzing with theatre regulars, all ready to hoot, holler, and whoop. Whether you know Calamity Jane  from American folklore, HBO’s Deadwood , or the Doris Day film (confession: I’d somehow never seen it—do I need to hunt down a VHS?), this version was a feisty, self-aware blend of homage and reinvention. The plot? When the Golden Garter Saloon mistakenly books the wrong glamorous performer, a case of mistaken identity unravels into romance, chaos, and plenty of toe-tapping tunes.   First off, a gigantic thank you to Queensland Theatre for the invitation and tickets! What an absolute treat to experience the Golden Garter Saloon from inside the action. The line between audience and cast was gleefully blurred, with us patrons treated like barflies and townsfolk of Deadwood. The cast acknowledged us like we were just another part of their rowdy frontier world. Audience members seated onstage became bar patrons (shoutout to “Joe the Barman” on opening night), and Brisbane references were tossed around like whiskey shots throughout the script. There was even a running gag about surviving Cyclone Alfred – because yes, this plucky team worked around a natural disaster to get here (even if it was anticlimactic, as Naomi joked). The show’s scrappy charm was no accident—director Richard Carroll steered the reins with clever abandon, bringing along his full posse of creative cowpokes to give this golden-age gem a fresh coat. He found the perfect rhythm, charging through high-energy gags while allowing tender moments to breathe. The production leaned into the show’s old-school melodrama while layering it with meta-humour and modern cheek. It was intentionally rough-edged, self-referential, and practically dared you not to have a good time. The fourth wall? Kicked open like a swinging saloon door. The only instrument on stage? A piano. Played by Music Director, Nigel Ubrihien. And that was all it needed—well, that and the powerhouse cast that could sing like nobody’s business. The cast of eight conjured an entire town. They performed with the heightened melodrama of classic Western films, peppered with cheeky modern nods and jokes that had the Brisbane theatre crowd howling. Wigs were flying, accents changed, and characters appeared and reappeared with jokes about “unlocking new characters”.   Naomi Price was a revelation in the title role. Known for her cabaret and concert work, she shattered every expectation here. Naomi Price was  Calamity Jane. And this Calamity was handful of contradictions: bold but bashful, brash but loveable, chaotic but deeply sincere. Her vocal power was undeniable, but it was her comedic and improvisational freedom, crowd-wrangling skills, and emotional depth that made her an unstoppable force. Tough as nails, quick with a quip, and heartbreakingly vulnerable—her Calamity was the kind of leading lady you cheer for, drink with, and want to hug after. Darcy Brown brought down the house as Francis Fryer. From his awkward “audition” ( Everyone Complains About the Weather ) to the chaos of Hive Full of Honey , he was a comedic hurricane—fearless, flamboyant, and fabulous. He fully committed to each madcap moment—from bar glass percussion to joining in on Calamity’s Men! number about how much she hates men (what a vibe) to quite literally squeezing himself into a corset and blonde wig to entertain the room.   Anthony Gooley brought grit and gravitas as Wild Bill Hickok, the gruff cowboy with a surprisingly soft centre. His sparring duet with Calamity ( I Can Do Without You ) crackled with fire, while Higher Than a Hawk  revealed hidden depths with gentle beauty and outstanding vocals. Andrew Buchanan wonderfully played Henry Miller, the saloon owner who insisted Susan was his “niece” (sure, mate). Juliette Coates pulled double duty as Susan Miller and Adelaide Adams, flipping between chaotic magic act and sultry starlet with a wink and a flourish. Her Adelaide number ( It’s Harry I’m Planning to Marry ) was rightfully dazzling, delivered with that perfect “don’t make me sing” diva energy, and she absolutely nailed that final high note. Her moustachioed moment in the all-male ensemble number Adelaide  was a cheeky delight. Even in a supporting role, Juliette's stage presence was effortlessly commanding.   Laura Bunting, as Katie Brown, was a quiet powerhouse. She played the aspiring actress impersonating Adelaide with endearing awkwardness and vulnerability, then closed Act I with a vocal wallop in Keep It Under Your Hat . Her duet with Calamity in A Woman’s Touch —reimagined here with a queer subtext—was gold. And in Love You Dearly , her vocals soared alongside Sean Sinclair. Speaking of Sean—his Danny was charming and the perfect counterpoint to Calamity’s emotional arc. Watching Calamity rage at Danny and Katie in a moment of heartbreak, only to break down in sobs, was honestly so relatable girly.   The real kicker, though, was the atmosphere. The cast radiated camaraderie with genuine affection in every interaction. Especially when the full ensemble came together with a banjo, mandolin, guitar, and accordion to sing The Black Hills of Dakota . I genuinely wanted to whip out a harmonica and join in. It was that  kind of show. It felt like a massive campfire hangout with your 400 closest friends, all putting on their best Southern drawl. Huge props to dialect coach Siege Campbell for keeping them up with the madness! And shoutout to intimacy coach Jacqui Somerville, whose work supported the sparkling chemistry and emotional realism that underpinned the romantic storylines. Kudos to the audience themselves—who were incredible sports, letting the cast move all around them, interact with them, and even rope them into reading lines! The finale saw the cast herding the audience out to the bar, where they kept the party going with country tunes, dancing, and a full-on post-show (triple) wedding celebration.   Design-wise, this show was a triumph. Lauren Peters’ rustic set—with swinging saloon doors, bar stools, and a wagon wheel chandelier strung with glowing bulbs—hung above the action like a prairie halo. Lighting designers Trent Suidgeest and Emma Burchell bathed the space in golden tones that shifted with the mood, from rowdy cabaret sparkle to gentle prairie dusk. Costume designer Kyla Ryman delivered one fabulous outfit after another, especially for Calamity, Susan, and Katie. The girls’ final dresses were divine and perfectly suited to each character’s arc. Cameron Mitchell’s choreography made the most of the small space and rowdy energy—especially in Windy City , which was part hoedown, part flash mob, and 100% crowd-pleaser.   There might not have been a tight plot to follow—but that wasn’t the point. We were there for the vibe. The irreverence. The spontaneous joy. We were there for Windy City  raygun dance moves, gag-a-minute staging, and the kind of show that lovingly took the mickey out of musical theatre while still revelling in it. It was theatre people making fun of theatre people—for theatre people. Like a rowdy family reunion—if your family happened to include half of Brisbane’s musical theatre scene.   Queensland Theatre only programmed one musical this year—and what a brilliant choice it was. I’ve already begged Artistic Director Dan Evans for more. This production was a beautiful celebration. Of old Hollywood musicals. Of new theatrical possibilities. Of storytelling that doesn't take itself too seriously, but still knows how to strike the heart. And we want more.

Title: Murder on Cue Presented By: Tugun Theatre Company Inc. Genre: Murder Mystery / Comedy Synopsis: Murder on Cue is a deliciously dark and witty murder mystery set in Maple Lodge, a retirement home for actors, where gossip, grudges, and dry sherry keep spirits high — until a blizzard traps everyone inside. As poison pen letters circulate, tensions rise, secrets unravel, and murder strikes. Who had it out for Sybil, the biting grande dame? Why is there a photo of a mysterious young man no one claims to know? With the home cut off from the world, it’s up to the sensible Sue, her assistant Judy, and the redoubtable resident Molly – with more than a little flair for the dramatic – to piece together the truth. This tongue-in-cheek whodunit is filled with quirky characters, big personalities, and a satisfying twist. As the residents use their theatrical flair to protect one of their own, the line between stagecraft and real life blurs in the most delicious way. Director: Jim Dickson Writer: Robin Jennifer Miller Audition Date: Monday, 12 May 2025 Audition Time: 6:30 pm Audition Location and Address: Tugun Theatre Company, Tugun Village Community Centre, Corner Coolangatta Rd & Kaleena St, Tugun QLD 4224 Audition Self-Tape Due (if applicable): Not applicable Audition Requirements: Cold reads from the script No preparation necessary, but familiarity with the synopsis and style is encouraged The director is seeking an older cast to reflect the retirement home setting Available Roles: The Staff: Sue – Female, 40s. The manager of Maple Lodge. Calm, sensible, and no-nonsense. Judy – Female, 30s. Sue’s cheerful and good-natured assistant. The Visitor: Gareth – Male, 30s–40s. Sybil’s smooth but sly solicitor nephew. The Residents (Primarily 60s–80s): Molly – Female. Intelligent, composed, and the unlikely Miss Marple of the group. Sybil – Female. Rude, sharp-tongued, and haughty. A classic theatrical diva. Desiree – Female. Flighty, romantic, and a little ditzy. Olivia – Female. Grand, commanding, with a steel spine beneath the glamour. Charles – Male. Gentle and upright with an air of old-fashioned decency. Larry – Male. Flamboyant, theatrical, and proudly camp. Audition Registration: https://www.tuguntheatre.org/audition Performance Dates: 8 August – 30 August 2025 Performance Location: Tugun Theatre Company, Tugun Village Community Centre Rehearsal Dates: To be confirmed post-casting Rehearsal Times: Likely evenings – typically Monday and/or Wednesday

Title: Verum Voices Presented By: Verum Arts Genre: A Capella / Vocal Ensemble Synopsis: Verum Arts proudly introduces Verum Voices – your soon-to-be favourite a cappella crew. We're a fresh vocal group ready to shake up the Brisbane music scene, and we're looking for passionate singers to join our debut season. All experience levels are welcome, so if you've got a voice and love harmonies, we want to hear from you! Audition Date: Tuesday, 13 May 2025 Audition Time: 6:00 pm – 10:00 pm Audition Location and Address: Visible Ink Youth Hub, 5 Green Square Close, Fortitude Valley QLD 4006 Audition Self-Tape Due (if applicable): Please contact us if you're unavailable on the listed date – alternate arrangements may be made. Audition Registration: Audition Form – Click Here to Apply Audition Requirements: Prepare approximately 1 minute of a song of your choice that best showcases your vocal ability Your song must be performed a cappella (no backing track) A starting note can be provided. You may also be asked to complete aural and pitch exercises during your audition. Rehearsal Dates: Weekly from Tuesday, 27 May 2025 Rehearsal Times: Tuesdays, 5:30 pm – 8:00 pm (subject to change) Rehearsal Location: Visible Ink Youth Hub, Fortitude Valley

Title: Titanic the Musical Presented By: Gold Coast Little Theatre Genre: Musical Theatre Synopsis: Titanic the Musical is a dramatic retelling of the infamous maiden voyage of the RMS Titanic, which tragically sank on April 15, 1912. This powerful Broadway musical — written before the release of the 1997 James Cameron film — focuses on the real-life crew and passengers of all classes aboard the ill-fated ship. With a sweeping, poignant score by Maury Yeston and a compelling book by Peter Stone, the musical explores the aspirations, dreams, and destinies of those aboard, weaving together historical detail and human emotion. This ensemble version requires only 20 performers who bring to life a multitude of characters, from stokers and stewards to first-class passengers and officers. Audition Date: Saturday 3 May, 2025 Audition Time: 10-minute vocal audition slots throughout the day Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough Street, Southport If you are unable to attend audition day please email at titanic@gclt.com.au to arrange a video audition. AUDITION REQUIREMENTS: Prepare 2 contrasting songs (no movement or dance audition required). A Golden Age / Classic Broadway piece – You may select a song from Titanic. A contrasting piece – Preferably from a musical (stage or film), showcasing characterisation and vocal range. Required Audition Songs (for select characters): Mr Andrews – Mr Andrews’ Vision Fleet, Bride & Barrett – The Proposal / The Night Was Alive Audition Registration: Register here Audition Pack: Download here (PDF) SCHEDULING: Performance Dates: 22 August – 13 September 2025 Performance Times: Thursdays, Fridays, Saturdays at 7:30pm Sundays at 2:00pm Performance Location: Gold Coast Little Theatre, Southport QLD Rehearsal Dates: Starting 13 May 2025 Rehearsal Times: Tuesday & Thursday nights Sunday afternoons/evenings (full days closer to opening) Creative Team: Director: Stuart Morgan Assistant Director: Ricky Moss Music Directors: Ben Harris, Shari Willner & Matt Pearson Choreographer: Sophie Wilmot Stage Manager: Di Morgan Production Website: https://gclt.com.au/auditions/ Other information: The version being staged is the acclaimed 2012 ensemble revision, available to watch on BroadwayHD (subscription required) All cast and crew will need to be members. Membership is for 12months from the date membership is paid. For enquiries, email: titanic@gclt.com.au AVAILABLE ROLES: This version of Titanic the Musical features a compact, multi-role cast of 20, with the exception of three principal roles (Mr Andrews, Mr Ismay, and Captain Smith). All other performers will portray a range of passengers and crew across the ship's social strata. Here’s a breakdown of the featured roles: Thomas Andrews Shipbuilder & Titanic Designer The moral compass of the show. He's thoughtful, observant, and filled with quiet integrity. Tenor (A2–G4) | Stage Age: 30s–40s | Slight Irish Accent | Perished J. Bruce Ismay Owner of White Star Line Ambitious and status-driven, Ismay pushes for speed to make headlines. He’s high-strung, formal, and carries the weight of leadership, making questionable decisions under pressure. Baritone (A2–G4) | Stage Age: 40s–50s | British | Survived Captain E.J. Smith Ship’s Captain A fatherly, dignified figure nearing retirement. Deeply cares for his crew and passengers, but struggles under Ismay’s pressure. His sense of duty keeps him on board until the end. Baritone (Bb2–F4) | Stage Age: 50s–60s | British (RP accent) | Perished William Murdoch 1st Officer Experienced but humble, Murdoch is a capable leader and right-hand to the Captain. On duty during the iceberg strike. Baritone (C3–F#4) | Stage Age: 30s–40s | Perished Charles Lightoller 2nd Officer Strong speaker with some solo moments. The highest-ranking officer to survive, and a key source of Titanic’s historical record. Baritone | Stage Age: 30s–40s | Survived Herbert Pitman / Henry Etches 3rd Officer & 1st Class Steward Pitman is loyal and reliable, surviving in command of a lifeboat. Etches is attentive and seasoned in first-class service. Tenor (B2–G4) | Stage Age: 30s | Both Survived Joseph Boxhall / Edgar Beane 4th Officer & 2nd Class Passenger Boxhall launches distress signals as the ship sinks. Edgar is practical and witty, trying to keep his wife Alice grounded. Bari/Bass (G2–D4) | Stage Age: 40s–60s | Boxhall Survived, Edgar Perished Quartermaster Hitchens / Isador Straus Crew & Passenger Hitchens was at the wheel during the collision and later manned a lifeboat. Straus is a wealthy, older man whose love story with his wife Ida becomes one of Titanic’s most touching. Bass/Baritone (F2–F4) | Stage Age: 50s–70s | Hitchens Survived, Straus Perished Bellboy Edward / Waiter / Stoker A young crew member who shares a poignant final moment with Captain Smith. Light Tenor or Youthful Voice | Stage Age: 14 (Casting 15+) | Perished Frederick Barrett A strong and capable stoker; the character is based on two real individuals named Barrett. His fate is left ambiguous. Tenor (A2–G4) | Stage Age: 20s–30s | Unclear if Survives Harold Bride / Wallace Hartley Bride is the young, awkward wireless operator. Hartley is the bandleader who plays until the very end. Tenor (C3–G4) | Stage Age: 20s–30s | Bride Survived, Hartley Perished Frederick Fleet / Frank Carlson Fleet is the lookout who first sees the iceberg. Carlson missed the ship entirely. Tenor (C3–G4) | Stage Age: 20s–30s | Fleet Survived Ida Straus Ida refuses to leave Isador on the ship, with the phrase “Where you go, I go.” Alto (G3-D5) | Stage: 50s-70s | Perished Alice Beane Alice is a homemaker who wishes she was a socialite. Requires an actress who can make us laugh by revealing the depths of Alice’s heart, rather than by playing her for comedy. She is like a child playing dress-up; the reality seems absurd but the fantasy is earnest. Mezzo (G2-D4) | Stage Age: 40s-50s | Survived Charles Clarke Charles aspires to be a journalist in New York City, and has every reason to believe he can succeed. Tenor (B2–F#4) | Stage Age: 20s–30s | Perished Caroline Neville Caroline is classy and kind - actually born to first class, but eloping to America with her love; she wants nothing more than to be with him, and is more than willing to sacrifice status for love. Mezzo or Soprano | Stage Age: 20s–30s | Survived Kate McGowen Strong-willed, spirited Irish immigrant travelling to a new life. Has a romantic storyline with Jim Farrell. Soprano/Mezzo (A3–F#5) | Stage Age: 20s | Survived | Strong Irish Accent Kate Mullins One of eight children, travelling with friends to America. Alto | Stage Age: 20s | Perished | Strong Irish Accent Kate Murphey Young, resilient, grew up fast due to family hardship. Alto | Stage Age: 20s | Perished | Strong Irish Accent Jim Farrell / Mr Bell / Mr Latimer Irishman and love interest to Kate McGowen. He’s earnest, grounded, and has a charming presence. He survives in the show (though not in real life). Baritone (B2–F#4) | Stage Age: 18–30 | Strong Irish Accent

Title: Chapter Two by Neil Simon Presented By: Spotlight Theatrical Company Genre: Comedy/Drama Play Synopsis: George and Jennie are in love, utterly perfect for each other, and are getting married. There are just a few problems: They’ve only been dating for two weeks. George’s beloved wife has passed away. Jennie has just gone through years of counselling which culminated in a messy divorce. Meanwhile, George’s brother Leo and Jennie’s friend Faye have their own marital troubles—and their own questionable chemistry. With heartfelt insight and comedic flair, Neil Simon’s semi-autobiographical Chapter Two asks whether finding a soulmate can happen more than once in a lifetime. Audition Date: Tuesday 13th May Audition Time: 7:00pm Audition Location and Address: Spotlight Theatre, 185-187 Ashmore Road, Benowa QLD Audition Requirements: Cold readings from the script (sent upon registration) Once registered, you will be contacted with your individual audition time Script and audition materials available in advance by emailing: clemshellyhalpin@gmail.com Audition Registration: Click here for the audition application form Audition Pack: Download audition pack here Available Roles: George Schneider (Male, 30s–50s): A grieving widower and serious novelist, not ready to meet someone new Jennie Malone (Female, 30s–50s): A soap opera actress recovering from a messy divorce, also not looking for new love Leo Schneider (Male, 30s–50s): George’s brother, married, frustrated, looking for an affair but failing miserably (comic relief) Faye Medwick (Female, 30s–50s): Jennie’s best friend, also frustrated and unsatisfied, seeking excitement but not succeeding (comic relief) Performance Dates: 21 August – 6 September 2025 Performance Location: Spotlight Theatre, 185-187 Ashmore Road, Benowa QLD Director: Clem Halpin Production Website: https://spotlighttheatre.com.au/aud-call.shtml Other information: Callbacks, if required, will be held on Tuesday 20th May at 7:00pm. All auditionees will be contacted regarding results. This is a two-act play with an approximate running time of 2 hours, including an intermission.

Based on the beloved Roald Dahl novel, Charlie and the Chocolate Factory  tells the story of young Charlie Bucket, a humble boy with a kind heart, who wins a once-in-a-lifetime golden ticket to tour the mysterious and magical factory of eccentric chocolatier, Willy Wonka. Alongside four other golden ticket winners—each with their own terrible flaw—Charlie embarks on a journey filled with sweet treats, strange inventions, and lessons in morality. Redcliffe Musical Theatre’s production, directed and produced by Madeleine Johns, took on this enormous challenge with a cast of committed performers, cheerful costumes, and a sense of fun that the audience clearly enjoyed. It’s no small feat—this show is famously tricky to stage, and the team faced the added challenge of lost rehearsal time due to the cyclone. With multiple cast members rotating through key roles and intricate staging requirements, it was clear from the outset that this was a huge undertaking for a community theatre company. The production included all the nostalgic favourites from the movie musical—“Pure Imagination”, “I’ve Got a Golden Ticket”, and “The Candy Man”—guaranteeing plenty of moments for audience members young and old to smile along and sing in their heads (or out loud, if you were me).   I attended a Sunday matinee, where Milo White took the stage as Charlie Bucket (a role he shared with Auden Ryan and Kirill Yaremchenko). From the moment he appeared, Milo radiated the optimism, creativity, and sweetness the role demands. With a bright voice, rosy cheeks, and the kind of energy you dream of in a young performer, he was truly a joy to watch. His wide-eyed wonder during the factory scenes was genuinely heart-warming—you could almost see the magic glisten in his eyes whenever he entered inventing mode. His chemistry with Terry Skinner as Grandpa Joe was lovely, and their duet, “I’ve Got a Golden Ticket,” was a sweet and charming moment in Act One. While Terry was the only main character not to adopt an accent (which made him stand out slightly), his scenes with Charlie were a joy and heartfelt. Allison Renton brought a warm, maternal presence as Mrs Bucket and provided lovely vocal support throughout.   Willy Wonka was brought to life by Gary Farmer-Trickett, who shared the role with vocal coach Anthony van Stam. On the day I attended, Gary delivered a wonderfully strong performance, absolutely nailing the comedic timing and manic energy of the character. While his Act One solo “It Must Be Believed to Be Seen” was slightly overshadowed by the power of the ensemble, he really came into his own after intermission. From the rapid-fire lyrics of “Strike That, Reverse It” to the dreamy sincerity of “Pure Imagination”, Gary captured Wonka’s deliciously unpredictable nature—equal parts whimsical and a touch dangerous.   The show did start a little slowly—Charlie has quite a few solo numbers before the story really kicks into gear (a fault of the script rather than the company). But things picked up considerably once we met the other golden ticket winners and their wildly eccentric parents. One of my favourite surprises came in the form of the delightfully deadpan reporters, Jerry Jubilee and Cherry Sundae, played by Jake Hollingsworth and Tylah-Jay Foster.  Jake’s proper British seriousness paired beautifully with Tylah-Jay’s bubbly pizzazz.   The four naughty children and their accompanying adults were played by a mix of rotating cast members (as is common at RMT). On the day I attended, Tyler Haynes was a suitably zoned-out Mike Teevee, Santino Belmonte delivered a high-energy Augustus Gloop, Alessia Lily Monteverde dazzled as Veruca Salt, and Ruby Marriott shone as Violet Beauregarde. These characters are caricatures of four of the seven deadly sins: gluttony (Augustus), pride (Violet), greed (Veruca), and sloth (Mike), and each of these young actors leaned into those unfavourable traits perfectly.   Each golden ticket winner had their moment in the spotlight with their own introductory song. “Queen of Pop”, Violet’s number, stood out in particular—with the dancers working overtime and TJ Foster hilariously grooving along. Ruby Marriott was a cool and confident Violet Beauregarde, paired well with Beau Frigault as her hype-man dad. Their matching tracksuits and blue lipstick were an absolute vibe. While the thick German accents made it purposefully difficult to understand them, Santino and Sarah Ashby (as Mrs Gloop) yodelled their way through “More of Him to Love” with superb energy. Mrs Teevee (played by Brianna Gibbins, though I saw understudy Nikki Glowacki) was a chaotic delight in “That Little Man of Mine”, and Mike’s brief vocal moments revealed a lovely tone. Alessia Lily Monteverde’s Veruca Salt was all snobby elegance and tantrums, delivering “When Veruca Says” with attitude to spare alongside her on-stage father Erickson Ilustre. She nailed the bratty persona, complete with sharp vocals, well-placed eye rolls, and even some ballet en pointe! Act Two took us fully into the factory, where the visual magic had to lean more towards DIY charm than big-budget spectacle. The reveal of the chocolate room was a little underwhelming and might have benefitted instead from a projected backdrop to expand the world beyond the curtain and small set pieces. Jonathan Johns’ set design showed plenty of creative ambition, even if the scale occasionally fell short of the vision. I especially enjoyed the grandparents’ “beds” mounted on lazy Susans—combined with their delightfully grim jokes that made it equal parts morbid and hilarious.   One of the more noticeable limitations was the use of pre-recorded tracks. While practical, this led to awkward pauses and dulled some transitions, leaving the cast waiting for cues that lacked momentum. That said, Rhonda Davidson-Irwin did an excellent job as Musical Director, especially managing the vocals of such a large and diverse ensemble. Speaking of, the ensemble worked tirelessly! Especially the thirty Oompa Loompas, donning the classic green wigs and white overalls (sans orange skin, thankfully). Costumes across the board were fun and full of personality, with Wonka’s vibrant look standing out as a highlight. The squirrel ballet was one of the cutest sequences, with the furry dancers attacking Veruca to giggles from all corners of the audience. And Violet’s blueberry transformation, complete with an inflatable suit, was a big hit!   All in all, Charlie and the Chocolate Factory  by Redcliffe Musical Theatre was a sweet and spirited production, brimming with colour, character, and youthful joy. With a touch more technical polish and staging resources, it could have soared even higher. It’s no small thing to take on a show of this complexity, and it was clear that the cast and creative team poured everything they had into bringing it to life. And at the end of the day, that’s what makes theatre magical—a bit of sparkle, a lot of effort, and a whole lot of pure imagination.

Title: Senior IMPACT Ensemble 2025: At the End of the World Presented By: Empire Youth Arts – The Empire Theatre Genre: Devised Theatre / Contemporary Ensemble Performance Synopsis: At the End of the World is a darkly satirical, meme-fuelled theatrical rebellion against climate catastrophe, political chaos, and the collective Gen Z existential dread. In a world that seems to be crumbling, where headlines scream disaster and every swipe on social media adds to the noise, the 2025 Senior IMPACT Ensemble will dive into creating an original work that reclaims joy as the ultimate act of defiance. Blending comedy, politics, memes, and powerful storytelling, this show dares to ask: how do you laugh at the apocalypse? Audition Date: Saturday 3 May 2025 Audition Time: Group Audition: 10:00am – 11:00am Solo Auditions (Booked Slots): 12:00pm – 5:00pm Audition Location and Address: The Empire Theatre, 54–56 Neil Street, Toowoomba QLD Audition Requirements: Task 1: Perform a published short monologue from a play, film or TV show that best showcases your performance style and strengths. Task 2: Present an original self-devised piece (monologue, poem, song, speech or movement work) from a character facing “the end of their world” – which could be literal or metaphorical. Each solo audition is strictly 6 minutes in total. Applicants must attend the group audition and their solo audition slot. Available Roles: A devised ensemble of 8–14 young performers (ages 15–20). The show will be developed collaboratively by the cast and creatives. Audition Registration: Complete and submit the application form (included in the audition pack) to: youtharts@empiretheatre.com.au Or deliver in person to the Empire Ticket Office. Deadline: 3:00pm Thursday 1 May 2025 Audition Pack: Available here Empire Theatre’s website Performance Dates: Wednesday 22 October 2025 (Preview, 7:00pm) Thursday 23 October 2025 (7:00pm) Friday 24 October 2025 (7:00pm) Performance Location: The Armitage Centre, The Empire Theatre Rehearsal Dates: Workshops and rehearsals occur on Mondays from 4:00pm–6:00pm or 4:00pm–8:00pm between May–October 2025, with intensives during the September holidays and full production week in October. Required Age: 15–20 years old (applicants must be within this range at the time of the project) Creative Team: Lead Creative: Grace Sankey Creative Collaborator: David Burton Production Website: empiretheatre.com.au Other Information: The project fee is $660 (payment plans and financial assistance available). There is also the opportunity to apply as an Assistant Creative / Writer, a volunteer role assisting in shaping the work alongside the Lead Creative and Creative Collaborator. Writers must submit a short writing sample and 100 words on why they’d like to be involved, and attend the group and solo audition (Task 2 only). Young people of all backgrounds, physical abilities, and levels of experience are encouraged to apply.

Title: Viva Rhythm Presented By: Starlet Productions Genre: Stage Spectacular / Musical Cabaret Synopsis: A glamorous night of theatre that follows the journey of a songstress whose biggest dream is to perform on the world’s greatest stages. From Paris to Vegas and everything in between, Viva Rhythm is a dazzling showcase of vocal talent, powerful dance, and specialty artistry designed to mesmerise. Audition Date: Sunday 27th April, 2025 Audition Time: [TBA upon registration] Audition Location and Address: Gold Coast, QLD (specific venue TBA via email) Audition Registration: Fill out the online audition form here: Google Form Link Audition Requirements: Applicants must be 18+ Professional-level experience required Open to singers, dancers, and specialty acts (solo or duo) Dancers: Showgirl, contemporary, musical theatre, and technical jazz Singer/Dancers: Technical jazz and partner work (tap welcome but not required). Bari-tenors comfortable with pop/rock/musical theatre. Singer: Mezzo-soprano with strong belt. Experience in pop/rock and musical theatre. Dance experience is advantageous. Specialty Acts: Ground-based solo or duo acts such as poi, juggling, adagio, contortion, hand balance, roller skating, hoops, etc. Available Roles: Female Presenting Dancer Male Presenting Dancer Female Presenting Singer Female Presenting Singer/Dancer Male Presenting Singer/Dancer Specialty Acts (Solo or Duo) Performance Dates: Saturday 6th July, 2025 Saturday 13th July, 2025 Saturday 20th July, 2025 Performance Location: Illusions Theatre, Cavill Lane, Gold Coast Rehearsal Dates: June 2025 Required Age: 18+ Production Website: https://www.starletproductions.com.au

Title: An Evening on Broadway: Monsters, Murder and Mayhem… Presented By: Introspect Theatre Company Genre: Musical Theatre, Mystery, Comedy, Dark Cabaret Synopsis: After a horrifying murder occurs at a distinguished house party, a grizzly detective with a dark past steps up to solve the crime. He meets a young crime enthusiast, and together they uncover that this killing eerily resembles some of the detective’s old unsolved cases. As they dig through the cold case files, more secrets come to light. This interactive, cabaret-style evening of murder, mischief, and music invites the audience into the investigation. Expect drinks, dramatic twists, and a whole lot of delicious mayhem. Audition Date: Sunday, 27th April 2025 Audition Time: 3:00 PM – 5:00 PM Audition Location and Address: TBA Audition Self-Tape Due (if applicable): Optional video upload is available via the registration form Audition Registration: Click here to register via Google Form Audition Pack: View the full audition pack Audition Requirements: Prepare two songs: One required song based on your vocal type: Shadow by Livingston (for male-presenting performers) Zombie by The Cranberries (for female-presenting performers) Plus one song of your own choice You may also be asked to perform one of the following monologues: Joker and Murray (from The Joker) Aubrey (from Pitch Perfect) Available Roles: Ensemble-based, cabaret-style show with opportunities for unique and dramatic characters. Specific roles not listed – performers will likely play a variety of characters in a devised murder-mystery style performance. Performance Dates: 26th and 31st October Performance Location: TBA Rehearsal Dates: Beginning Saturday, 11th May 2025 Rehearsal Times: Wednesdays: 5:00 PM – 9:00 PM Sundays: 3:00 PM – 7:00 PM Media Day: Saturday, 10th August 2025 Warnings: Mature content, themes of murder and psychological darkness, suggestive content, audience interaction. Required Age: 18+ Directed by: Daniel Lewis & Gabriel Jassim Production Website: www.introspecttheatreco.com.au