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During the September school holidays, Stage School Australia debuted its first production in Brisbane at the Draney Theatre, taking the audience on a magical adventure over the rainbow with The Wizard of Oz . The 60-minute adaptation of this timeless classic captivated the hearts of young and the young at heart, for the ideal family-friendly theatre experience. From the moment the show opened in stunning black and white, it was clear that this production was going to be something special. The shift to vibrant colour carried the audience to the Land of Oz, where the stage design—featuring high quality scenery, props, lighting, and projections, as well as bubbles, haze, and sparks—all combined to create visual delight. While the performances were absolutely amazing all around, I must highlight Keira Whyte's take on Dorothy—also sharing the role with Eden Vaka. Whyte's voice was just beautiful, soaring through every song and really conveying Dorothy's sweet nature, youthful naivety, and growing determination. Oliver Macready brought the loveable Toto to life, evolving him into a memorable and distinct character without speaking a single word. With his plush costume and knack for comedy, Macready transcended being merely a sidekick to embody a unique personality that is rarely seen in stage adaptations of this musical. Scarlett Small shone as Glinda, literally, with a divine costume and wig that complemented her twinkling voice and radiant smile. It was a stark contrast to Jess Kennedy-Fletcher's Wicked Witch, who was simply electrifying! With her dramatic flair and commanding presence, she had the audience hanging on her every word, expertly portraying the menace and theatricality that make the character so iconic. Meanwhile, Tiger Robinson demonstrated remarkable versatility as he flitted between multiple roles like a pro, particularly shining as the goofy Gatekeeper and the powerful Wizard. The Munchkins' children's ensemble, in their beautifully designed costumes, brought an adorable element of whimsy that elicited an 'aww' from the audience. The teen ensemble's comical portrayal as Munchkins shuffling around on their knees beneath voluminous skirts and capes created the illusion of the tiny characters, which had the audience chuckling! The ensemble returned multiple times to portray roles: as the Ozians dressed in vibrant green for "Merry Old Land of Oz", as the jitterbugs, as the flying monkeys, and as the Winkies, marching in sync for the rousing rendition of “Ding Dong!”   It was impressive to see such a large cast maintain high energy, especially during the exuberant “Jitterbug.” This song, with its intricate harmonies and high-speed choreography, is no walk in the park. Having tackled this challenging number myself, I can attest to its complexity, making their execution all the more impressive to me! The musicianship was equally commendable, with Lucy Ross’s direction resulting in outstanding vocals from the entire cast. Scott Matthews, playing the Tin Man, sang with a beautifully soothing voice, while Charlie Kelly-Mandalis’s Cowardly Lion radiated a larger-than-life presence and a touch of underlying sweetness. Jake Stubbs, in the role of the Scarecrow, impressed with his physicality and strong vocal performance. I especially loved the short reprise of “Somewhere Over the Rainbow” sung by Adison Mackinder as Aunt Em. It was a touching moment that reminded us of the beauty of family and home amidst the magical chaos of Oz. The overall production values were exceptional. The costume department deserves applause for the sheer effort involved in managing such a diverse array of outfits, especially considering the hot and heavy nature of the garments. The performance also did justice to the magical effects—witches disappearing in a puff of smoke or melting on stage, the dramatic tornado scene, the dazzling reveal of the ruby slippers. The standout elements in the set were the hot air balloon and the iconic mechanical talking wizard head, adding more marvel to the production. This one-hour version of The Wizard of Oz  moves swiftly, ensuring every minute is used effectively. Under the direction of Robert Coates, the production shines due to its energetic performances and fantastic choreography, led by Jacqui Green and Dance Director Rebecca Djapovic. Once again, Keira Whyte and Eden Vaka deserve special mention for their impressive endurance and vocal consistency as they hardly left the stage. Their ability to maintain high energy and character authenticity is a testament to their dedication and talent.   From start to finish, the young cast impressed me, staying in character no matter what despite the inevitable mishaps, which they handled like pros. This elaborate production, featuring numerous costume changes, moving set pieces, and special effects, was pulled off beautifully, particularly considering the cast’s short holiday rehearsal period. It’s a testament to Brisbane’s growing pool of talented young performers, all of whom were clearly having a great time, creating an equally enjoyable experience for the audience! Stage School Australia's production of The Wizard of Oz  was a heartwarming celebration of courage, friendship, and the magic of home, reminding us all why we fell in love with this story in the first place. It’s evident that the cast and crew poured their hearts into this production, and their hard work paid off splendidly. Bravo to Stage School Australia for a delightful debut in Brisbane.

Cirque Bon Bon , brought to you by the fabulous folks at JACS Innovating Entertainment during the Brisbane Festival, burst onto the scene at the Southbank Piazza like a glitter bomb! This wasn't just a circus; it was a kaleidoscope of colour, sound, and gravity-defying talent. Clarke McFarlane, a.k.a. Mario Queen of the Circus, was the host of the performance, impressing the audience with his juggling routine performed to the tune of “Another One Bites the Dust.” His charisma and impeccable sense of humour brought laughter to everyone present. The night kicked off with an ethereal act set to a slow version of Blondie’s “Heart of Glass", as aerial artist Tim Kriegler soared above the stage, executing incredible tricks and oversplits like it was nothing. I will say that the audio experience during the entire show was phenomenal. Every act added to the musical layers, forming a rich tapestry of sounds that immersed us further into the show. In their floor routine to "Diamonds," Duo Synergy , Emma Goh and Scott Lazarevich, demonstrated innovative, mind-blowing tricks that were unlike anything I’d seen before, all executed with such careful precision that the audience was collectively gasping in disbelief. The pair’s connection and immense strength made every move mesmerising, leaving me spellbound as they pushed the boundaries of both physicality and possibility. The upbeat, sparkly number “Sunglasses” added a fun, energetic flair from the quartet of dancers. Meanwhile, the contortionist Shannen Michaela wowed the crowd with her routine to a sultry version of Britney Spears' “Toxic." Her grand finale? Shooting a balloon with her feet using a bow and arrow while balancing upside down on her hands. Yes, you read that right. I can’t even balance my coffee cup sometimes. Alexandre Lane’s Cyr wheel act looked like such fun! I was genuinely worried he might spin straight off the stage and into the laps of the audience members in the front row. The Cyr wheel even lit up like a lightsaber, turning his act into a real-life circus disco! We were swept away by the beauty of Thomas Worrell on the aerial hoop during a dramatic rendition of “Sweet Dreams." His graceful movements were poetry in motion. Duo Synergy returned for a breathtaking partner dance to “At Last,” fusing contemporary and ballet in a way that can only be described as a masterpiece of artistry and emotion. A comedic interlude came when Clarke literally climbed through the audience searching for a "volunteer" to ride on his shoulders while he rode a unicycle around the stage. His antics had everyone in stitches, especially when he picked another good sport from the audience who ended up in a banana food fight during “Under Pressure.” The fun didn’t stop there—he led the crowd in a karaoke short rendition of “Bohemian Rhapsody." The lucky participant was having a beaut of a time, while the rest of us cheered him on enthusiastically! And as the show neared its conclusion, the audience delivered a group performance of “We Are the Champions,” lighting up the piazza with our phones and uniting everyone in a moment of pure joy. And just when I thought it couldn’t get any better, Emma and Scott rolled back onto the stage on roller skates for “Ain’t No Sunshine,” performing tricks that made my jaw drop and a remarkable split-second costume change. Cirque Bon Bon: Le Retour was a visual and auditory feast that brought the house down. Kudos to the talented ensemble, including host Clarke McFarlane, circus artists Alexandre Lane, Tim Kriegler, Shannen Michaela, Emma Goh, Scott Lazarevich, and Thomas Worrell, along with dancers Holly Soper, Jayden Grogan, Kurtis Holstein, and Tiara (Locke) McCool. This production was a testament to creativity, artistry, and pure fun. If you weren't there, don't worry - I'm sure the circus train will be back in town before you know it!

Title:  A Night at the Musicals Presented By:  ANATM Brisbane Genre:  Cabaret/Concert Synopsis: A Night at the Musicals is a cabaret-style celebration of musical theatre, one of Brisbane’s fastest-growing independent professional opportunities. Returning in March 2025 for a three-show run at The Ron Hurley Theatre, we are seeking a cast of 12-14 performers to showcase their expertise. Cast members will perform solo songs and take part in group and ensemble pieces, involving basic movement and complex harmony singing. This production is designed to be a swift commitment, offering performers a chance to hone their craft between contracts and be part of Brisbane's expanding arts community. Audition Date:  Submissions due by 5pm, Friday, 19th October 2024 Audition Requirements: Submit an online audition, including personal details, an up-to-date headshot, and a CV. Include a self-tape with an introduction (name, age, and a little about yourself) and two contrasting musical theatre pieces (90 seconds or more per piece) that showcase your vocal range. Performers should be confident with part-singing, harmony learning, and movement. Available Roles: 12-14 Performers for solo, group, and ensemble pieces. Audition Registration:   Click here to submit your audition form Audition Pack:   A Night at the Musicals Audition Pack Performance Dates: Thursday, 27th March 2025 Friday, 28th March 2025 Saturday, 29th March 2025 Performance Location:  Ron Hurley Theatre, 28 Tallowwood St, Seven Hills Rehearsal Dates: Rehearsals begin in late January 2025 Rehearsals will be minimal, scheduled during evenings and Sundays for solo and group sessions. Spacing/Transitions Call in Theatre: Tuesday, 25th March 2025 (7:00 PM - 9:00 PM) Tech/Dress Rehearsal: Wednesday, 26th March 2025 (5:00 PM - 10:30 PM) Recommended Age:  Open to all South-East QLD performers. Creative Team: Producer:  Sophora Cliff Musical Director:  Michael Keen Director:  Alex Watson Assistant Director:  Carly Wilson Other Information: This is a profit share opportunity. Artists will receive professionally recorded/mixed footage of their performance for personal use in their showreels.

Title:  Cinderella Presented By:  Reservoir Frogs Theatre Company Genre:  Pantomime Synopsis: The classic rags-to-riches story! Cinderella lives a life of drudgery, bullied by her horrible ugly stepsisters, Salmonella and Listeria. Her muddled and confused father, Baron Hardup, is powerless to intervene (he's more scared of them than she is!), and her only comfort is her pal Buttons! Prince Charming is holding a ball to meet his bride-to-be. Can this be the chance that Cinders has been waiting for? Despite the best efforts of her two malicious stepsisters, Cinderella shall go to the ball with the help of her magical Fairy Godmother! Audition Date:  Saturday, 19th October 2024 Audition Time:  Various one-hour slots Audition Location and Address:  The Gap RSL Hall (Cnr. Waterworks Road and School Road, The Gap) Audition Requirements: Prepare a short song of approximately 1 minute, in the style of a musical panto or children's show. You may be asked to participate in a short dance routine, so wear comfortable clothing. There will be cold reads from the script. Audition Registration:   Click here to register for an audition Available Roles: Cinderella – Young. Female. Kind-hearted and long-suffering. Prince Charming – Young. Male or Female. Principal ‘boy’, heir to the throne. Buttons – Young. Male or Female. Clever, quick-witted, and fast-talking. In love with Cinderella. Listeria – Age open. Male (Dame). Stepsister to Cinders and a thoroughly nasty piece of work. Salmonella – Age open. Male (Dame). The second stepsister to Cinders and equally nasty! Fairy Godmother – Age open. Female. A kind-hearted and all-powerful sprite. Baron Hardup – Older. Male. Father to Cinderella. A rather confused, muddled character. Dandini – Female or Male. Aide and confidante to Prince Charming. Major Domo – Older. Male. Palace official. A pompous and rather foolish fellow. Chorus of Townsfolk, Animals, Guests at the Ball, Servants, and a Cameo Monster – Ages open. Male and Female. Performance Dates:  Friday, 6th December 2024 – Sunday, 15th December 2024 (Fridays, Saturdays, and Sundays) Rehearsal Dates: Begins Tuesday, 22nd October 2024 Rehearsals on Tuesday and Thursday evenings (6pm or 7pm–10pm) and Sundays (10am–3pm) Recommended Age:  Open to all ages, genders, abilities, backgrounds, and ethnicities. Creative Team: Director: Sandra Harman Musical Director: Natalie Mead Other information: Callbacks may be required on Sunday, 20th October 2024. Membership to Reservoir Frogs Theatre Company is required if cast ($20 Adult, $15 Concession, $10 Youth). All rehearsals and performances will be held in The Gap area. This is an unpaid opportunity. Please email all enquiries to reservoirfrogstheatrecompany@gmail.com

A Whodunit with a Side of Jazz Hands Curtains serves up a theatrical cocktail of murder, comedy, and musical charm, where the suspect list is as long as the chorus line and the detective is more interested in jazz hands than handcuffs. Performed at IONA Performing Arts Centre, Savoyards Musical Comedy Society brings to life the behind-the-scenes chaos of a musical under threat. Set in the swinging '50s, Curtains invites the audience into the backstage world of a floundering musical as its cast and crew deal with a murder mystery—and with each other. Under the direction of Carolyn Latter, with musical director Jacob Cavanaugh weaving the melodies, and choreography by Ange Schoemaker and Melanie Southall, this production exudes a brassy and bright charm that perfectly captures the spirit of the era in which it is set.   The show opens with the sudden (and frankly, convenient) on-stage death of Jessica Cranshaw, played by Kim Kee, who is excellent as the leading, tuneless diva. And just like that, the curtain rises on the investigation by Lieutenant Frank Cioffi, a Boston detective more focused on resolving the production issues of the musical rather than the murder case at hand. David Harrison, as Lt. Frank Cioffi, absolutely charms the audience with his goofy enthusiasm and endearing awkwardness. His character is starstruck by the theatre world, and his crush on Niki Harris (Daisy Thwaites) brings a sweetness to the show right from the start. Their on-stage spark is natural and enjoyable, especially during their duet “A Tough Act to Follow.” Cioffi leads the charge as he sleuths their way through the cast and crew, trying to find the murderer before they strike again, while simultaneously rescuing the musical from going down in flames.   Speaking of Niki, Daisy Thwaites shines as the sweet (and a little ditzy) ingénue. She has a face card that seems to have stepped right out of a 1950s musical, and her voice is just as timeless. Thwaites effortlessly captures the delicate essence of Niki, infusing the character with a quirky charm and humour. Tristan Vanyai steals the spotlight as Christopher Belling (my personal favourite), the flamboyant director who gives new meaning to the phrase "the show must go on." With a blend of sass and wit, he serves up hilarious one-liners like "I will be blocking your investigation" with flair. Vanyai perfectly embodies the exaggerated, haughty nature of a British theatre director, ensuring that his scenes are guaranteed to bring laughter. Miranda Selwood as Carmen Bernstein is another star of the evening, embodying the no-nonsense producer with finesse. It’s clear she was made for this role, as she expertly blends Carmen’s tough exterior with a deep passion for the world of theatre in the rousing "Show People". With her powerful voice, Selwood proves to be a formidable presence on stage. The male ensemble backs her up with a tight, energetic performance of "It’s a Business." Jay Koloi deserves special mention for truly committing to the over-the-top theatrics that classic musical theatre demands. His commitment in the group numbers is palpable, and it’s a joy to watch someone so fully immersed in their ensemble track.   Natalie Lennox, portraying Georgia Hendricks, showcases the diverse talents required for this role. She infuses her character with a beautiful tenderness, especially evident in her solo, "Thinking of Him." Her voice is a highlight of the show, crystal-clear and full of emotion. Jordan Ross, portraying Aaron Fox, (Georgia's former romantic partner and current writing partner), delivers an emotionally stirring performance of "I Miss the Music." His soulful tenor voice resonates with emotion, captivating the audience even as he remains behind the piano initially. When Ross finally steps out into a single spotlight to finish the song centre stage, the moment is spine-tingling. His solo stands as one of the emotional highlights of the show. Bec Swain, as the energetic Bambi Bernet, dazzles with her dance number in “Kansasland.” Not only is her dancing divine, but it's her captivating face that truly grabbed my attention. Swain knows how to own the stage, making sure she’s always radiating confidence, even when the focus isn’t directly on her. Other notable performances include Kyle Fenwick as Johnny Harmon, the overworked and overlooked stage manager. His exasperation with the chaos around him is both funny and familiar to anyone who’s worked in theatre. And then there's Sam Hocking as Bobby Pepper, who is the epitome of a Broadway performer, bringing incredible energy, resilience, and even acrobatics to the role. Curtains isn’t just about the main characters, though. The ensemble is packed with strong personalities who add layers of humour and intrigue. During number “The Woman’s Dead,” their blasé reaction to their leading lady’s murder becomes an acting exercise as they pretend to care. Every ensemble member makes distinct character choices, and watching each of their facial expressions during group moments is a hoot.   The show’s choreography pays homage to the golden age of Broadway, with big skirts, jazz hands and kickline moments we all know and love. However, some numbers like "Thataway" fall short of that Broadway dazzle, with the energy dipping slightly when it’s needed most. But to be fair, it’s a physically demanding routine with Charleston moves that would wear out even the most seasoned performers.   Vocally, the cast shines across the board. The ensemble harmonies are rich, and the solo performances are deeply moving. The vocal harmonies in the paranoid group number “He Did It” or the impressive “In the Same Boat Completed” are pitch-perfect. Music Director Jacob Cavanough ensures the precise execution of every ensemble number. The orchestra deserves massive applause for their beautiful accompaniment, especially during the reprise of “Thinking of Him/I Miss the Music,” which featured a superbly lush and romantic tone. The costumes and wigs have been intricately designed to encapsulate the spirit of the era and enhance the timeless quality of the performance. In the final act "A Tough Act to Follow," the cast presents a mesmerising performance in exquisite pink gowns and dapper tailcoats. The choreography is beautiful, and the vocals even better. By the time the big reveal comes, it’s clear the audience is as clueless as the characters, thanks to misleading clues and a script that keeps everyone guessing. The audience is visibly engaged, reacting with laughter, gasps, and whispered "oooohs" at the dramatic moments. At one point, Harrison delivers a gem of a line, “Forget about the murders, I want to run this number!” summing up the wonderful absurdity of the show.   Curtains is more than just your average murder mystery; it’s a celebration of the chaos, drama, and joy of showbiz! With stellar performances across the board, the cast brings this Kander and Ebb musical to life with humour, heart, and a whole lot of razzle-dazzle. The show-within-a-show structure and its backstage antics will feel familiar to fans of SMASH , where the trials of staging a Broadway show are front and centre, but with a refreshing twist of a murder mystery. Like any great musical, it’s the moments of human connection—through song, dance, and laughter—that keep the audience hooked. Savoyards really hit the jackpot with this one, proving once again that musical theatre, much like solving a mystery, is never easy, but always worth the thrill. Now playing until 5th October 2024. Tickets available here *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!

Title:  PIP Theatre 2025 Children’s Theatre Program Presented By:  PIP Theatre About:  PIP Theatre is casting a core ensemble (Actors 18+) for its new Children’s Theatre Program. Performers will bring well-known children's theatre productions to life in a series of fun and lively performances during the 2025 QLD school holidays. Four productions will be staged, one during each school holiday period. Audition Information: Audition Dates: Saturday, 12th October 2024 Sunday, 13th October 2024 Audition Times: 9:00 am – 9:45 am  (Individual 15-minute slots) 10:00 am – 11:00 am  (Group call) 11:00 am – 12:00 pm  (Individual 15-minute slots) Note:  Applicants will be assigned a 15-minute individual audition slot and must participate in the group call from 10:00 am to 11:00 am. Audition Location: PIP Theatre, 20 Park Road, Milton, QLD 4064 Audition Requirements: Actors aged 18+ only A 2-minute song A 2-minute monologue of your choice Applicants will be assigned a 15-minute individual audition slot and must participate in the group movement call from 10:00 am to 11:00 am. Audition Registration: Apply via Google Form Audition Brief Performance Information: Show Dates: Production 1:  January 7th – 23rd, 2025 Production 2:  April 5th – 17th, 2025 Production 3:  June 28th – July 12th, 2025 Production 4:  September 20th – October 4th, 2025 Performance Days and Times: Tuesdays to Saturdays, 10:00 am and 2:00 pm Location:  PIP Theatre, Milton, QLD 4064 Rehearsal Information: Rehearsal Schedule:  To be discussed upon casting. Commitment: Must be available for all 2025 QLD school holidays Must be available for all performance dates Agreement:  All performers will be part of a profit-share model. Other Information: This is a professional opportunity for emerging actors ready to develop their careers. Director:  Ava Moschetti

Title: Santa & the 7 Christmas Fairies  – Pro-Am Christmas Pantomime 2024 Presented By:  BPAC - Brisbane Performing Arts Challenge and Hope Event Entertainment About the Show:  This traditional British-style Christmas Pantomime follows Santa and his 7 Christmas Fairies as they embark on a whimsical adventure to save the holiday spirit. Expect magic, laughter, and heartwarming moments. Audition Date:  Sunday, 6 October 2024 Audition Time:  11 am Age Range:  10-14 years Audition Requirements:  Email missyrhonda@gmail.com  to register and receive an audition pack. Available Roles:  2 Junior Ensembles (10-14 year-olds) Additional Information:  Participants will work with professionals from the Australian Performing Arts Industry. Performance Dates and Locations: Fri, 20 Dec 2024:  Bribie Island Golf Club Sat, 21 Dec 2024:  Ron Hurley Theatre, Seven Hills Sun, 22 Dec 2024:  Lind Lane Theatre, Nambour Leading Cast: Jackie Love  as Lumina, Queen of the Christmas Fairies Sophie Perkins  as Dreadbore, the Wicked Witch

Title:  The Guy Who Didn't Like Musicals Presented By:  Javeenbah Theatre Company Genre:  Musical Theatre Synopsis: Paul can't stand musicals, it's his greatest hate. But one day, he faces his worst nightmare when he discovers that his town, Hatchetfield, has been overtaken by an alien force causing infectious singing and dancing. As the invasion unfolds, Paul, along with his co-workers, endeavours to navigate through the chaos and fight their way out of the town consumed by the musical epidemic. Audition Date:  19th October 2024 Audition Time:  From 10 am Audition Location and Address: Javeenbah Theatre Company, Cnr Stevens & Ferry Streets, Nerang Audition Self-Tape Due (if applicable): Video auditions are welcome. Please submit videos to TGWDLM@javeenbah.org.au . Audition Requirements: Prepare and memorise two musical theatre songs. No songs from The Guy Who Didn’t Like Musicals  are permitted. Songs should reflect the character(s) auditioned for but may not be required to sing. Auditionees must provide instrumental backing. A Bluetooth speaker will be available. Prepare one monologue or scene related to the show or character auditioning for. Be ready to attempt a generic American accent. Wear comfortable clothing for a possible quick choreography segment. Audition Registration: Register for an Audition Audition Pack: Download Audition Pack Performance Dates:  8th – 22nd February 2025 Sat 8 Feb 2025 7:30 pm Sun 9 Feb 2025 2:00 pm Fri 14 Feb 2025 7:30 pm Sat 15 Feb 2025 7:30 pm Sun 16 Feb 2025 2:00 pm Fri 21 Feb 2025 7:30 pm Sat 22 Feb 2025 7:30 pm Performance Location:  Javeenbah Theatre Company, Cnr Stevens & Ferry Streets, Nerang Rehearsal Dates: Tuesdays 7-10 pm Thursdays 7-10 pm Sundays 12-5 pm Holiday Break: 20 Dec 2024 - 5 Jan 2025 Sitzprobe: 12th Jan 2025 Warnings:  Contains gunshots, drug references, smoking, blood, and gore. All auditionees must be 18+ by the first read-through on 27th October 2024. Recommended Age:  18+ Creative Team: Director:  Fiona Mumford Musical Director:  Alex Angus Choreographer:  Charlotte Carozo Production Website: Audition Info Character Breakdown: Paul Matthews Gender:  Male Range:  B2-Db5 Description: Paul is an ordinary, unambitious office worker who lives a quiet life and actively dislikes musicals. He comes across as blunt, sometimes rude, but underneath his gruff exterior, he cares deeply for his friends and is very loyal. He doesn't sing until the very end of the show, so the role is primarily acting-driven. His character has moments of intimacy with Emma Perkins. Special Note:  Paul does not participate in the musical elements until later in the story, requiring strong acting to carry the role throughout. Emma Perkins/Ensemble Gender:  Female Presenting Range:  G3-G5 Description: Emma has a laid-back, sardonic view of the world, but there’s a deep passion underneath her apathy. She is commitment-phobic, especially in relationships, and shares Paul’s distaste for musicals. Emma has strong three-part harmony requirements but is primarily an ensemble role. There are intimate moments with Paul Matthews. Special Note:  Requires strong harmony singing. Man 1 (Multiple Roles: Mr Ken Davidson, Sam Sweetly, General John MacNamara & Ensemble) Gender:  Male Presenting Range:  Bb2-F5 Description: This role demands versatility, as Man 1 plays multiple characters. This role is vocally intense, with multiple solos and a fast-paced spoken-word section in one song. Mr Ken Davidson : Paul's boss, the head of the tech department at CCRP, a typically no-nonsense guy. Sam Sweetly : A self-serving cop who only helps people when it benefits him. General John MacNamara : A noble, patriotic man who places love and human connection above all. Special Note:  Intimate touch with Charlotte Sweetly & Zoey Chambers. Woman 1 (Multiple Roles: Charlotte Sweetly, Nora & Ensemble) Gender:  Female Presenting Range:  G3-G5 Description: Woman 1 also covers several roles: Charlotte Sweetly : A sweet but emotionally fragile woman. Despite her husband’s affairs, she wants to work on their marriage. Nora : The no-nonsense boss at Beanies Café who enforces a “Tip for a Song” policy. Special Note:  Intimate touch with Ted Spankoffski & Sam Sweetly. Requires strong three-part harmony singing. Bill Woodward Gender:  Male Presenting Range:  B2-Ab4 Description: Bill is a loving father with deep anxiety over his daughter, Alice. Despite his job in the tech department, he’s notoriously bad with computers. He’s ensemble-based, with no solo singing, but his relationship with Alice is pivotal to his character. Special Note:  Primarily ensemble, no vocal solos. Woman 2 (Multiple Roles: Greenpeace Girl, Alice Woodward, Zoey Chambers & Ensemble) Gender:  Female Presenting Range:  Gb3-G5 Description: This role requires vocal versatility, as Woman 2 plays a range of characters: Greenpeace Girl : A street canvasser ignored by everyone. Alice Woodward : Bill's daughter, who pretends to be a rebel but is actually a "goody-two-shoes." Alice loves musicals and tries to impress her friends by pretending otherwise. Zoey Chambers : Self-absorbed and ambitious, Zoey dreams of being on Broadway and will do anything to get there. Special Note:  Intimate touch with Sam Sweetly. Requires multiple solos and tight harmony singing. Professor Hidgens Gender:  Any Gender Range:  A2-Ab4 Description: Professor Hidgens is eccentric, self-serving, and ambitious. Hidgens has written a musical called Workin’ Boys  and is willing to go to extreme lengths (even murder) to get what they want. A comical, over-the-top character with lots of dramatic and humorous moments. Special Note:  A character driven by self-interest and comedic eccentricity. Ted Spankoffski Gender:  Male Presenting Range:  A2-A4 Description: Ted is defined by his hyper-sexuality, viewing himself as irresistibly charismatic. He’s an overconfident, "horny bastard," and his over-the-top personality drives his actions. This is primarily an ensemble role, but Ted stands out due to his exaggerated persona. Special Note:  Intimate touch with Charlotte Sweetly.

Title:   Fame: The Musical Presented By:  Spotlight Theatrical Company Genre:  Musical Theatre Synopsis: Conceived and developed by David De Silva, this high-octane musical features the Academy Award-winning title song and other catchy pop numbers. The show follows the final class of New York City's celebrated High School for the Performing Arts from their admission in 1980 to their graduation in 1984. It touches on themes such as prejudice, substance abuse, and ambition as the young artists navigate the worlds of music, drama, and dance. Audition Date: Saturday 12 October 2024 Audition Location and Address: Southport Community Centre, Lawson Street, Southport, QLD Audition Requirements: Dance Call 10:00 am – All auditionees (excluding teachers) 11:00 am – Advanced Dance Call (for key dance ensemble roles) Choreography will be taught at the audition. Required for performers auditioning for Tyrone, Joe, Iris, Mabel, and Carmen. Vocal/Performance Auditions From 12:30 pm (10-minute slots) Audition songs are specified in the character breakdown. No acting component (except for Mr Myers and Mr Sheinkopf). Showcase any special talents during your audition! Call Backs (if required): Sunday 13 October 2024 Callback times will be announced Saturday night. Video Auditions: Available for those unable to attend in person. Contact the production team for details. Audition Registration: Email your completed application to: auditions@spotlighttheatre.com.au Performance Dates: Thursday, 6 February 2025 - 1 March 2025 Performance Times: Evening shows: 7:30 pm Matinees: 2:00 pm Performance Location: Spotlight Theatre, Southport, QLD Rehearsal Dates: Rehearsals begin 3rd November 2024. Sundays: 1:00 pm – 6:00 pm Mondays and Wednesdays: 6:30 pm – 9:30 pm Warnings: Heavy dance and movement requirements. Substance abuse and mature themes are depicted in the show. Recommended Age: Auditionees must be 16+ Creative Team: Director: Stuart Morgan Associate Director/Choreographer: Dean Giltinan Music Director: Matt Pearson Production Website: Spotlight Theatrical Company Website Available Roles:   7 Male, 7 Female (plus ensemble). Serena Katz Gender:  Female Age:  20+ Description:  A shy, timid, yet enthusiastic actress. Vocal Range: Top: Eb5 Bottom: G#3 Audition Song:  "Think of Meryl Streep" Call Back:  "Let’s Play a Love Scene (Reprise)" Nick Piazza Gender:  Male Age:  20+ Description:  An ambitious and serious classical actor. Vocal Range: Top: G4 Bottom: A2 Audition Song:  "I Want to Make Magic" Call Back:  "Let’s Play a Love Scene (Reprise)" Joe Vegas Gender:  Male Age:  18+ Description:  A loud and comical acting student with a crush on Carmen. Vocal Range: Top: C5 Bottom: C3 Audition Song:  "Can’t Keep It Down" Carmen Diaz Gender:  Female Age:  18+ Description:  A sexy, confident, but cocky dancer with a big ego, obsessed with fame. Vocal Range: Top: F5 Bottom: A3 Audition Song:  "There She Goes/Fame" Tyrone Jackson (or Jack Zakowski  as alternate casting) Gender:  Male Age:  18+ Description:  A talented, dyslexic hip-hop dancer from a poor background, has a strained relationship with Iris. Alternate casting as Jack Zakowski, a headstrong dancer and Russian immigrant. Vocal Range: Top: Bb4 Bottom: D3 Audition Song:  "Dancin’ on the Sidewalk" Iris Kelly Gender:  Female Age:  18+ Description:  A talented, graceful ballet dancer who comes across as snobbish and insecure. Has a difficult relationship with Tyrone. Vocal Range: Top: F5 Bottom: D4 Audition Song:  Personal Choice 80’s Hit Schlomo Metzenbaum Gender:  Male Age:  18+ Description:  A classical violinist who starts a rock band, frustrated with his father’s expectations. Vocal Range: Top: F4 Bottom: C3 Audition Song:  "Bring on Tomorrow (Reprise)" Grace Lamb (Lambchops) Gender:  Female Age:  18+ Description:  A loud, tomboyish rock chick who plays drums in Schlomo's band. Quick to lose her temper. Vocal Range: Top: B4 Bottom: A3 Audition Song:  Personal Choice 80’s Hit Goodman King Gender:  Male Age:  18+ Description:  A musician in Schlomo's band, believed to be Schlomo's best friend. Vocal Range: Top: G#4 Bottom: F3 Audition Song:  Personal Choice 80’s Hit Mabel Washington Gender:  Female Age:  20+ Description:  A loud, overweight dancer and singer with a big heart who is desperate to lose weight but can't resist food. Vocal Range: Top: E5 Bottom: D4 Audition Song:  "Mabel’s Prayer" Miss Esther Sherman Gender:  Female Age:  30+ Description:  A strict, old-fashioned English teacher who cares deeply for her students. Vocal Range: Top: E5 Bottom: F3 Audition Song:  "These Are My Children" Call Back:  "Teachers Argument" Miss Greta Bell Gender:  Female Age:  30+ Description:  A passionate dance teacher who sees dance as a way of life and is protective of her students. Vocal Range: Top: E5 Bottom: A3 Audition Song:  Personal Choice 80’s Hit Call Back:  "Teachers Argument" Mr. Sheinkopf Gender:  Male Age:  30+ Description:  A European music tutor with a passion for classical music and a dislike for rock and roll. Audition Requirements:  No singing required. Perform a 1-minute monologue showcasing your accent skills. Mr. Myers Gender:  Male Age:  40+ Description:  A laid-back drama teacher with an obsession for human psychology. Audition Requirements:  No singing required. Perform a 1-minute monologue of your choice. Ensemble Gender:  Mixed Age:  16+ Description:  A diverse group of students with strong dancing, singing, and other special talents. Audition Song:  Personal Choice 80’s Hit

A Floating Playground of Circus, Drag, and Magic Ah, The Art Boat —a show that transformed an ordinary evening into one of the most epic nights I’ve ever had at the Brisbane Festival! From the moment we set sail on this three-story boat, decked out with neon lights and giant inflatable tentacles, I knew this was going to be something special. I brought a friend, made a new one on board, and between the dancing, drinks, and dazzling performances, it became one of those rare nights where everything just clicked. Curated by the iconic Briefs Factory, this wasn’t just your average boat ride down the Brisbane River. This was a floating festival—a whirlwind of circus, burlesque, drag, and music, all wrapped up in an electric atmosphere that refused to let you sit still. With three time slots to choose from – 3pm, 5pm, and 7pm – and a variety of vibes to match your mood, from family-friendly matinees to glam date nights, there was something for everyone. I went for the Sunday sunset session, and the weather couldn’t have been better. The Brisbane River played its part perfectly, with the sky turning into a painting of gold and the city lights twinkling as we cruised from South Bank to Kangaroo Point and back. The main deck was the hub of action. There was a catwalk down the middle for the performers, a full bar of drinks and food, and plenty of seating. Inflatable neon tentacles (courtesy of Josh McIntosh) towered over the top deck. Cocktail in hand, we were living the high life, feeling fancy and fabulous. Oh, and let me just say—the fries? Absolutely delicious.   The entertainment kicked off the second we set sail, led by the incomparable Fez Fa’anana (aka Shivannah). As the MC, Fez was the glue that held everything together. Her sass, humour, and commanding stage presence made sure the audience was engaged from start to finish. Plus, she looked stunning in those sky-high heels, working the catwalk like no one else could. Brett Rosengreen captivated the audience with a mesmerising striptease routine. His fluid movements created an atmosphere charged with anticipation, as he skilfully revealed more of his enigmatic persona with each piece of clothing shed. The spectators were spellbound as Brett's dance unfolded, showcasing not only his toned physique prowess but also his ability to command attention. Then, Rowan Thomas impressed by performing acrobatic feats on the Cyr wheel WHILE simultaneously stripping. Captain Kidd (Mark Winmill) elevated the hula hoop routine to a whole new level. It’s not every day you see a man hula hoop with tinsel hanging off his… well you know. His cheeky humour and remarkable talent had the crowd roaring with laughter and awe in equal measure. This fusion of sensuality and athleticism in their acts made a lasting impression. And then there was Diesel Darling—a shining star. Her costumes were dripping with sparkles and gave off an incredible vintage burlesque charm, bringing a touch of pin-up fantasy to the night. Anyone on one of the many bridges we passed under definitely got an eyeful of the unexpected! Participation was highly encouraged, and by the end of the night, we were all part of the show—dancing, cheering, strutting down the catwalk and living in the moment. Before I knew it, I was in the middle of the Macarena and a conga line that zigzagged down the boat. It was impossible not to get caught up in the energy. The music never stopped, even when the performers took a break. The DJ kept spinning hit after hit, and I barely had time to catch my breath between shaking my groove thing, snapping pics, and cracking up.   In the end, The Art Boat was more than just a show—it was an experience. Floating down the river, surrounded by strangers who felt like friends by the end of the night, and witnessing these talented Brisbane performers made it one of the best nights I’ve had in ages. If you ever get the chance to hop aboard in future festivals, do not hesitate. It's a floating fiesta where everyone's invited to the party! The only bummer? I wish the fun didn't have to wrap up after a mere 90 minutes.

A Dark and Delicious Dive into Twisted Fairy Tales Forget everything you know about fairy tales—Shake & Stir Theatre Co. has torn up the rulebook and stitched together a wildly entertaining patchwork of magic, mayhem, and mischief. GRIMM  takes the tales you grew up with and warps them into an adults-only cabaret of dance, drag, comedy, and puppetry. Running at QPAC’s Cremorne Theatre as part of Brisbane Festival, this show is a no-holds-barred spectacle. If you’re expecting Disney princesses, think again. This pulls you into a world where Little Red Riding Hood drinks gin, Cinderella has no tongue, and the Big Bad Wolf would give Frank-N-Furter a run for his money. The show opens with a bang—literally—as the cast breaks into a hypnotic rendition of Ramalama (Bang Bang) . From that moment, the tone is set: this is going to be loud, lavish, and unapologetically weird. The set design, dubbed "The Witch's Tit," feels like a gothic fever dream, complete with a tilted piano, a staircase that leads nowhere, a creaky spinning wheel, and apples strewn everywhere (watch out—they might end up in your mouth). The entire set feels alive, each detail enhancing the eerie, haunted vibe.   We’re quickly introduced to the “rules” of fairy tales, but forget happily ever after—this is all about curses, betrayals, and blood. The cast of four—Aljin Abella, Nelle Lee, Brendan Maclean, and Angie Milliken—bring to life a menagerie of twisted characters, making it hard to believe there are only four actors on stage. The pace is fast and furious as they weave tales of Little Red, Cinderella, Rumpelstiltskin, Hansel and Gretel, Beauty and the Beast, the Big Bad Wolf, and more. It’s chaotic in the best possible way; like a mash-up of your favourite fairy tales reimagined by someone who watched too many horror films and SNL skits.   Nelle Lee, who portrays Little Red Riding Hood (as well as Beauty, Snow, and the fawn), deserves to be in the spotlight not only for her performance but also for her exceptional work in creating this adaptation. Her portrayal of the drunken, wisecracking Red is comedy gold, particularly when she’s high on shrooms and stumbling through the woods. Lee’s physical comedy and sharp timing are delightful, and her blood-red cloak is a thing of beauty. Angie Milliken portrays Cinderella, as well as the Witch, Red's mother, Sleeping Beauty, and other characters. As Cindy, Milliken exudes a sense of purity and vulnerability. In contrast, her portrayal of the witch who eats children is chilling, as she delves into the darkest aspects of these stories with a mature presence that commands attention. Brendan Maclean's performance as the Big Bad Wolf (along with Robber Bridegroom, Pied Piper, Rapunzel, and more) is unforgettable. Dripping with charisma, he is both predatory and fabulous, seductive and slinky. Maclean's interpretation of 'Hungry Eyes', delivered with a knowing wink to the audience, treads the delicate balance between threatening and mischievous.   Just when you think Maclean's Wolf might be the standout of the night, Aljin Abella swoops in as Rumpelstiltskin, and it's hard to put his performance into words. He blends creepy manipulation with rapid-fire dialogue, bleeped-out curses, and hysterical physical comedy. Yet it’s his portrayal of the Beast that truly showcases his versatility. Here, he embodies an awkward vulnerability and a desperate yearning for love, adding surprising emotional depth. His tender interaction with the delicate fawn puppet brings an unexpectedly poignant moment amidst the otherwise wild chaos. The emotional weight of this scene highlights the show's adept pacing, maintaining audience engagement without overwhelming them. It exemplifies how GRIMM manages to balances light and dark, humour and horror—after all, these are fairy tales that, at their core, were meant to teach us lessons about humanity. The costume and makeup design by Paul McCann deserves its own standing ovation. From Cinderella’s eerie, silent figure in a golden gown to the Wolf’s over-the-top brocade ensemble, each costume is a visual feast that reflects the extravagance and darkness of this twisted fairy tale world. The makeup is equally stunning, with bold, rouged features that transform the actors into the wildest versions of these classic characters. The use of blackouts, vibrant lighting, haze, and audio gore amps up the suspense, particularly in the moments where we hear the Wolf devouring his prey. The use of German language adds an authentic touch, paying homage to the original Grimm tales while keeping things fresh and playful. And the modern twists—Beauty with her LED mask, or EDM blasting during the chase scene—keep the show rooted in the present. At one point, the Beast scours the audience for a virgin's heart, only to be met with a knowing "good luck!" from a cheeky spectator. It’s moments like these that make GRIMM  feel like a dynamic experience that could go anywhere at any time.   GRIMM reaches its heart-pounding finale with a countdown to midnight, featuring pyro effects and fast-paced dialogue that wraps up the twisted tales. Moral messages are flung at the audience as the cast defiantly proclaims, “F*ck fate!” A dance mash-up of ' I Love It'  by Icona Pop and ' Hot To Go'  by Chappell Roan, is the perfect, unapologetically rebellious ending to a show that refuses to play by the rules. While GRIMM  primarily delves into reimagining classic fairytales, it’s impossible to ignore the modern undertones running through the production. Cinderella, initially naïve and obedient, takes a tumultuous journey through the woods that serves as a powerful allegory for the often messy path we must navigate to find our voice in a world that expects women to be silent. Likewise, Little Red demonstrates toughness, resilience, and intelligence in standing up against male aggression. The Beast's vulnerability, concealed behind his brutish exterior, is a stark reminder of the emotional suppression society often demands of men. There’s also a delightful queerness to the whole production, particularly with Brendan Maclean’s take on the Big Bad Wolf, which subverts the predatory male archetype into a wonderfully queer representation. What’s most impressive about GRIMM is its seamless blending of humour and horror. The innuendos and adult themes are cheeky, but never out of place. The audience is invited into the action—apples are fed, cast members make cheeky asides—but thankfully, no forced audience participation. This is ' Into the Woods' for adults—but bloodier and bawdier. If you missed it, too bad—it’s already sold out. But for those lucky enough to snag tickets, brace yourselves for a wickedly good time!

I was incredibly lucky to be invited to ten Brisbane Festival shows this year, and out of sheer curiosity, I selected the award-winning Volcano  as one of them. I walked in without knowing what to expect—and I’m so glad I did. Volcano  has easily become one of my favourite shows of the year. Directed, choreographed, and performed by the acclaimed Attic Projects’ Luke Murphy, this creative experience presents a unique fusion of theatre, dance, and multimedia. With its four-part structure, each episode unfolds like a chapter in a feverish dream, drawing the audience into a hypnotic exploration of memory, identity, and reality.   Setting the Scene Volcano  is presented like a serialised live miniseries, with four 45-minute episodes, each packed with surprises. A 25-minute interval between the final two episodes allows for both physical and mental recalibration. The performance unfolds within the confines of a dilapidated living room set, enclosed in glass like a specimen on display. The space is littered with relics of a bygone era—ancient radios, dusty televisions, and peeling wallpaper—setting the tone for a fragmented journey through memory. Episode 1: The Beginning The show commences with Luke Murphy and Ali Goldsmith, the sole performers, covered in chalk, dancing in slow, deliberate movements against a hauntingly intense soundscape. Though measured, their movements are laden with a disquieting intensity as we learn about the dystopian universe of The Amber Project. Our first hint at the thematic exploration of preservation of ancient memories in amber. A sudden shift into a high-energy disco scene showcases the pair’s impressive synchrony and vitality. Their sharp, precise movements create infectious energy that had me dancing in my seat. The retro atmosphere is enhanced by colourful lighting, including a ceiling of lighted tiles and scattered lamps, used creatively throughout the performance. As the episode transitions into a game show format, Goldsmith hilariously embodies a cheesy host of "Tell Me All About It," where participants must discuss a given topic under a time constraint. This segment introduces the concept of time capsules—fragments of past lives preserved. Tension arises when interference disrupts the radio seemingly controlling the two men, causing the actors to “glitch” in real time. Their movements synchronise with the strobe lighting and sounds, reminiscent of video game glitches, to add a surreal, unsettling edge. This intense the sensory experience could easily become overwhelming for sensitive audiences. Episode 2: The Story Deepens In the second episode, the narrative delves deeper into the enigmatic world of Volcano . A video segment reveals the inner workings of these “inhabited pods,” where The Amber Project has archived over 140 hours of nostalgic data—a mechanism for replaying preserved memories in virtual reality. The performers conduct vlogs, adding a personal touch and providing insights into their characters’ experiences. Goldsmith observes feeling trapped, like a tight shirt collar around the throat. When the radio crackles, the performers must adopt various personas and "perform" a complex tapestry of memories and experiences. This exploration feels like The Sims , where individuals are controlled by an unseen force, living repetitive, simulated lives. From scenes of a space detective adventure, a wedding speech, a rave party, a British talk show; the abrupt character shifts showcase the performers' exceptional adaptability. Goldsmith shines as the forced-laughter talk show host, which takes a disturbing turn when black ooze begins to drip from his ear—a recurring visual that signifies glitches in their deteriorating reality. This episode features captivating contemporary dance sequences where the performers’ reliance on each other is phenomenal. Their lifts and movements are executed with such grace that they seem like extensions of one another. A standout sequence involves Goldsmith dancing with his jacket to symbolise human connection and detachment. The narrative takes a Truman Show  turn as the characters discover hidden cameras and begin to question their reality. Goldsmith’s intense introspective vlog, followed by Murphy’s underwater diver mimicry as he scans the audience with a flashlight, heightens the sense of disorientation and paranoia. Episode 3: Confronting Reality By the third episode, the narrative begins to unravel as another video reveals to the audience that they are merely projected virtual versions of themselves, like being asleep and "dreaming" within their pods. Murphy’s character, now completely alone, delivers a weather report that transitions into a contemporary dance. This solo, set against a backdrop of a simulated hurricane and accompanied by an ethereal soundscape, evoke a sense of vulnerability and isolation. Murphy’s reverse dance sequence, where he flawlessly dances backwards as though rewinding time, is a visually stunning and embodies the theme of attempting to reclaim something lost—moving forward while stuck in the past. The soundscape, like a deafening jet airplane, intensifies the scene. The episode also features an unhinged magician and a William Shatner impression of "Rocketman," providing levity amidst the chaos. One of the most poignant moments of the entire show occurs during Murphy's solo dance to "Sing Sing Sing." It is both chaotic and emotional, a whirlwind of energy that showcases his character seemingly losing grip on his sanity. His anguish and frustration are palpable as he attempts this swing number alone, culminating in a gripping emotional climax as he desperately attempts to tear the set apart in search of an escape. I genuinely teared up as I watched his descent into madness expressed so viscerally. Episode 4: The Finale Following the interval, the set had transformed as Goldsmith returns for the final episode. With the room now tidied, the audience is treated to a flashback, capturing the awkwardness of the characters’ first meeting. We then fast-forward two years into the present, where the truth about their existence comes to light—they have willingly entered this constructed simulation, under the watchful surveillance of the Big Brother (I mean the Amber Project.) The finale is a spectacular display of dance, prop work, and emotional intensity as they use every inch of the space. The choreography navigates through iconic moments from pop culture—Marilyn Monroe’s famous skirt scene, Superman’s cape, E.T. on the bicycle, and the Creation of Adam painting to name a few. In this final montage, the characters seem trapped in a never-ending cycle of performance, unable to break free from their simulated reality even as they literally tear the set apart. As the world collapses around the characters, we are left hanging, wondering whether they ever truly escaped or if they were doomed to perform forever. Murphy and Goldsmith's exhaustion was palpable, as they were drenched in sweat by the end. Overall Experience Volcano  is a testament to the power of live performance, blending theatre, dance, and multimedia into a thought-provoking experience. The immersive sound design, dynamic lighting, detailed set design, and exceptional artistry contribute to the unforgettable nature of the performance. Murphy and Goldsmith’s performances are both technically proficient and emotionally resonant, grounding the experimental nature of the show with their human presence. After the performance, the audience buzzed with conversation. I overheard discussions about the parallels to our own digital lives, the endless performances we give online, and the horror of being in stuck in a dream that you cannot wake up from, like Inception . Despite its length, Volcano  never loses its grip on the audience. The show’s exploration of the human psyche is executed with a level of artistry and sophistication that justifies its acclaim. It is a performance that will stay with me for a long time to come.