Thank you to Beenleigh Theatre Group for the invitation to attend The Lovely Bones . Directed by Roslyn Johnson, this play is adapted by Bryony Lavery from Alice Sebold’s haunting novel. While I must admit that the story has never resonated with me, neither in book form, film, nor now in this stage version (sorry, but it's far too sickening and depressing for me), I approached the production with an open mind and a genuine desire to find the heart of what draws others to this tale. Set in the 1970s, The Lovely Bones  follows the tragic story of 14-year-old Susie Salmon, who is murdered and watches from the afterlife as her family attempts to process their grief and move forward. It is a story of loss, longing, and the threads that connect us—even beyond death.   The show opened to the ethereal sounds of Joni Mitchell’s Both Sides Now , setting an appropriately melancholic tone as Susie wandered silently through the space. Holly Delchau, as Susie, brought a gentle and ethereal presence to the role, with a youthful and desperate vocal tone that underlined the character’s ghostly narration. Holly's efforts in creating a sense of longing and hope were admirable, and she held the emotional centre of the piece with care. Andrew McArthur was a standout as the unsettling Mr Harvey. From the dishevelled combover and dated sweater to the disturbing calmness with which he delivered lie after lie, Andrew walked the line between ordinary and horrifying with skill. Particularly clever was his performance in scenes where he had to portray a character who was clearly lying but not doing it well, and somehow make that  convincing. His final unravelling was chillingly performed and left a strong impression.   The set, designed by Ian Johnson, was one of the most remarkable elements of the production. A turning set piece for the Salmon family home and a two-storey rotating unit for Mr Harvey's house allowed for clever and dynamic staging. The rolling cornfield and transitional lighting created a liminal space between the real and the supernatural, though at times the frequent transitions felt abrupt, and scene changes lacked fluidity. The supporting cast gave varied performances. While all actors seemed highly competent, I found the emotional engagement was lacking at key moments, especially within the Salmon family. Their grief, which should have been the emotional core of the play, often felt muted or distant, making it difficult to connect with their journey. Justin Ryan as Jack Salmon gave a solid performance, but I struggled to see the depth of obsession and anguish the character required. Hannah Davies as Abigail and Leah Harford as Lindsey similarly didn’t fully convey the emotional weight of their arcs, which diminished the story’s intended poignancy.   The portrayal of Holiday, the family dog, was a unique choice, puppeteered by Thomas Wood using a stuffed toy. While unconventional, Wood handled the role well, and the dog’s silent presence served as a subtle but persistent reminder of all the things unsaid. Some characters, such as Naviah Morris as Ruth and Cameron Samimi as Ray, seemed underwritten in this adaptation. Though they played intriguing roles in Susie’s world, their storylines never quite bloomed into full relevance, leaving their emotional impact underdeveloped.   The costumes and hairstyles firmly rooted the production in the 1970s, and I appreciated the attention to those era-specific details. Accents, however, were inconsistent and sometimes distracting, occasionally slipping out entirely. Lighting by Chloe Harrison and sound by Levi Rayner supported the eerie atmosphere effectively. Sound design made some bold choices, ranging from David Bowie to voiceovers that occasionally jarred with the tone and emotional gravity of the play. While innovative in intent, the AV elements sometimes confused rather than enhanced the story, particularly when the symbolism wasn’t clear.   While The Lovely Bones  was never going to be an easy or uplifting night at the theatre, this production did offer moments of clarity and performance strength—particularly through Holly's sincerity and Andrew's unnerving portrayal. The material itself, with its heavy themes and dreamlike narrative, is difficult to adapt for stage, and this version struggled with pacing, tone, and emotional engagement throughout.   Ultimately, while this production didn't resonate with me personally, I acknowledge the effort and commitment it takes to stage such a complex and emotionally layered work. I respect the cast and crew’s ambition in tackling such a sensitive and surreal piece of theatre. Theatre is, after all, a space for bold choices and brave storytelling, even when it doesn’t land for everyone. I left not quite knowing whether to applaud or book a therapy session… possibly both.

A Dazzling Adventure Beyond Imagination After plenty of anticipation, Peter and the Starcatcher  has finally sailed into Brisbane, bringing with it a swashbuckling romp of whimsy, wonder, and wit. Directed by David Morton and brought to life by the visionary minds at Dead Puppet Society, this Tony Award-winning production reimagines the origins of Peter Pan . It’s a play, a musical, a spectacle, a fever dream to be honest... and a wildly inventive, fast-paced adventure that barrels through its storytelling faster than you can say, “second star to the right!” Based on the 2004 novel Peter and the Starcatchers  by Dave Barry and Ridley Pearson (itself inspired by J.M. Barrie’s 1904 play Peter Pan ), and adapted for the stage by Rick Elice, the show spins an origin story for beloved characters Peter, the Lost Boys, Tinkerbell, Mrs. Darling, Captain Hook, and Smee. At its heart is the daring mission of starcatchers Lord Leonard Aster and his daughter Molly, tasked with transporting magical starstuff to safety—only to be thwarted at every turn by pesky pirates, tag-along orphans, and fantastical creatures. The atmosphere on opening night was electric, and by the time the final scene played out, the immediate standing ovation spoke volumes. The cast of Peter and the Starcatcher  is an ensemble of comedic brilliance and top-tier Australian talent (with excellent British accents). Every actor throws themselves into multiple roles with unstoppable energy and a flair for the ridiculous, making it nearly impossible to decide where to look at any given moment! Otis Dhanji and Olivia Deeble, as Peter and Molly, are the heart of the show. Deeble’s portrayal of Molly is a force of nature—her fierce independence and natural leadership shine through in every scene. She commands attention with a perfect balance of childlike enthusiasm and wisdom beyond her years. Dhanji’s Peter, on the other hand, is scrappy, mischievous, and brimming with curiosity—the very essence of the boy who never grows up. Together, they anchor the production and capture the emotional core of the story through their combined strength and vulnerability. Colin Lane is an absolute scene-stealer as the flamboyant Black Stache. This isn’t the Captain Hook you know—he’s widly theatrical, unhinged, and always teetering on the edge of self-parody. Lane seems to thrive on the chaos, keeping both his fellow cast members and the audience on their toes with improvisations and fourth-wall breaking. His dynamic with his long-suffering sidekick Smee (played by Pete Helliar) is a comedic goldmine, their back-and-forth banter providing some of the biggest laughs of the night. Morgan Francis is bold and bossy as Prentiss, while Benjin Maza’s Ted is hilariously clueless and perpetually hungry. Though they’re adults playing orphaned children, they sell every moment with wide-eyed wonder and heartbreaking abandonment. Paul Capsis (my personal fave) shines as the villainous Bill Slank and later as the hilariously absurd Hawking Clam. His over-the-top performances are deliriously dramatic, and he revels in every moment of his roles. Lucy Goleby is utterly endearing as Mrs. Bumbrake, Molly’s no-nonsense nanny. Ryan Gonzalez graces us with his stunning voice and juggles multiple roles—including Sanchez, Grempkin, Mack, and the unforgettable Fighting Prawn, the leader of the island’s Italian chef tribe (I couldn’t make this stuff up if I tried). Alison Whyte’s Lord Aster is a commanding presence, exuding authority even when surrounded by the absurdity of the pirates. Her ability to preserve her character’s dignity, despite Colin Lane causing all the other actors break character, is a highlight.   It wouldn’t be a Dead Puppet Society production without, well, puppets—and Peter and the Starcatcher  is brimming with them, from delicate fluttering creatures to towering, multi-operator behemoths. Designed and crafted by an exceptional team of Brisbane-based artists, the puppets become an intrinsic part of the storytelling, capturing the wonder and unpredictability of Neverland. Among the many puppets that populate the stage, the mischievous cat makes several playful appearances. The crocodile appears in no fewer than three  forms: as a shadow puppet, as an airborne giant, and finally as an awe-inspiring 12-metre-long hero puppet operated by multiple performers. Each version of the creature builds upon the last, creating a growing sense of menace and anticipation every time it appears. Every puppet, prop, and performer moves naturally, transforming inanimate objects into characters in their own right to immerse us in a world of endless imagination.    Then there are the mermaids! Adorned with shimmering, disco-inspired, iridescent scales, they catch the light in a hypnotic display as they dance and sing us into Act Two. But it’s Teacher, the enigmatic mermaid played by John Batchelor who dazzles the most with a four-metre tail embedded with over 1000 pixels of light to make him glow with an ethereal beauty. The pacing of Peter and the Starcatcher  is relentless—in the best way. It never lingers too long in one place, constantly shifting between intense adventure, heartfelt moments, and sharp comedy. It always maintains an undercurrent of anticipation and excitement. And the speed— my god, the speed!  This show moves like a runaway train, and the cast is sprinting right alongside it. They leap, tumble, switch costumes, and swap characters at a dizzying pace, morphing from pirates to sailors to puppeteers to chefs in the blink of an eye. With movement director Liesel Zink’s guidance, the cast navigates this kinetic landscape with precision, ensuring that every transition feels entirely purposeful. The stage design itself fuels the production’s constant sense of motion. A striking arched structure towers above the action, covered in twinkling starlight that seems to envelop both the stage and audience in a shared dreamscape. Rather than relying on static set pieces, the production takes a more inventive approach to its world-building. The Wasp and The Neverland , the two central ships, aren’t traditional set pieces but exquisitely crafted scale models. Constructed from wooden pieces, polypropylene sheeting, and real brass, these intricate miniatures blur the lines between set, prop, and puppet. Lighting, designed by Ben Hughes, plays an equally vital role. The interplay of starlight, shadows, and bursts of colour enhances the storybook charm. Musically, Peter and the Starcatcher  is just as enchanting as its storytelling. James Dobinson’s score flits between playful whimsy and ethereal melodies. The live instrumentation—featuring fiddle, harpsichord, hand percussion, a spinet piano and more—evokes life on the Victorian-era ship. Rather than being tucked away in a pit, the musicians are fully visible. The organic quality of the live music adds a sense of immediacy, making the audience feel as though they are right there on deck with the characters, caught in the sweeping tide of the story. Then, there are those moments that take your breath away, with one standing out in particular: Peter’s arrival in Neverland. The execution feels almost dreamlike, as the whole ensemble sings and the music swells to bask us in the pure wonder of the moment. It’s one of those rare, enchanting instances in theatre where you feel genuinely transported, where the lines between the stage and reality blur, and you become completely immersed in the adventure. This show captures the essence of childhood wonder, adventure, and friendship that I adore seeing on the stage. The cast’s energy makes the journey from pirate ship to the shores of Neverland feel like one we all want to embark on, inviting us to rediscover the joy of make-believe. It’s a feast for the eyes, ears, and heart, bursting with creativity at every turn. Blending comedy, heartwarming moments, and a surprising amount of social satire (the British Empire gets thoroughly roasted, and there are plenty of modern references to make you giggle), this production defies easy categorisation. It’s a play. It’s a musical. It’s a show for adults. It’s a fairytale. It’s all of these things at once. Peter and the Starcatcher  is an experience I’d happily get lost in again and again. Tickets Available Here

Encore was no ordinary revue—it was a love letter to musical theatre, wrapped up in dazzling costumes, energetic choreography, and an inspired framing device that elevated it beyond the usual showcase format. Rather than simply presenting a series of songs, Encore set itself within an auction house selling off theatrical treasures. It was like Antiques Roadshow meets Broadway! This concept offered audiences a glimpse into the original shows from which their chosen songs and scenes came. This imaginative approach infused the production with a storytelling element that kept things fresh throughout. One of the most impressive aspects of Encore  was its ability to juggle an enormous cast—around 100 performers—ensuring each one had multiple chances to stand out and portray different characters. The group numbers brimmed with enthusiasm, and the soloists rose to the challenge with standout performances. Olivia Cowdrey took the stage as Annie, leading the large ensemble of orphans in a spirited, loud, and well-rehearsed Hard Knock Life . Olivia’s voice was both sweet and strong. As the sole adult female in the show, Jordan Twigg’s turn as Miss Hannigan was delightfully wicked, especially in Little Girls . Maeve Lynch as Grace brought charm to I Think I’m Gonna Like It Here , and together, this opening sequence established the high energy and commitment that carried through the rest of the show. Alex Watson, the other adult in the mix, proved his versatility as a commanding Mr. Bumble in Oliver!  to a scene-stealing Edna in Hairspray  (what can’t  Alex do?). Harry Morgan owned the stage as Corny Collins in The Nicest Kids in Town , rocking a sparkly red blazer and setting a high standard for the Hairspray  segment. Darci Allen was a great fit as Tracy Turnblad, her powerhouse vocals shining in Welcome to the 60s , where the ensemble truly came alive and had me singing along! Moving to Oliver! , Xavier Loxton made a sweet and earnest Oliver, while the younger ensemble got their time to shine as orphans (again) in Food, Glorious Food —a moment I particularly enjoyed, as I’ve never actually seen Oliver! on stage before. Alex Watson was a riot as Mr. Bumble in the titular song Oliver! , delivering lines with just the right amount of villainous flair. Young Charlotte Cheng as Moana was another standout, with vocals that were simply stunning; a powerhouse voice beyond her years. Seriously, her voice was better than mine, and I'm not even mad about it! Venturing to the Land of Oz where our two favourite witches reside, Wicked 's What Is This Feeling saw Mabel Tamone as Elphaba and Maeve Lynch as Glinda. While their vocals were fantastic (especially in tackling the difficult harmonies), the acting aspect could have been dialled up for greater dramatic effect. The two actresses clearly didn’t "loathe" each other in real life, so maybe they just needed to borrow some sibling rivalry tactics. The ensemble, decked out in crazy amounts of green, attempted choreography from the Wicked film, a bold move that didn’t quite work for these younger dancers but was impressive in its ambition. Maeve Lynch’s Glinda, looking pretty in pink, hit the high notes like a pro, although the vocally-demanding Popular left her catching her breath—that song is like running a marathon while singing opera. Mabel Tamone’s Elphaba was a vocal powerhouse, handling every moment like she was born to defy gravity.   A major highlight of the show was the perfectly cast Mean Girls segment, featuring Zoe Pryor portraying a very natural Cady, Hamish Treweeke nailed it as Damian, and Kira Green rocked as Janis. The Plastics were a fabulously fierce trio: Saana Chang (Karen), Mabel Tamone (Regina), and Ella Reynolds (Gretchen). In Meet the Plastics, Mabel’s portrayal of Regina was spot-on, you'd swear she was lip-syncing to the Broadway recording! Kira’s solo Apex Predator was a showstopper, belting out notes that could shatter glass. Ella was so fetch as Gretchen and Saana’s hilariously ditzy Karen brought the perfect comedic touch. While it may not have been entirely suitable for this age group, I adore the show, and the number Where Do You Belong wrapped it up with a bang—great job, girls (and Hamish!) The Mamma Mia! segment was a crowd-pleaser, beginning with Lay All Your Love On Me , where Harry Morgan (Sky) and Estella Mitchell (Sophie) brought great energy to the number. They handled the tricky song well (which I know is tough to sing!), but it was easy to see the main reason for that number—the dance in the flippers! The Donna and the Dynamos casting was fantastic , with Keira Readman as Tanya, Maeve Lynch as Rosie, and Jordan Twigg as Donna. Jordan’s delivery made every spoken line feel spontaneous, and she would be perfect in a full production of Mamma Mia! Her rendition of the full The Winner Takes It All was simply breathtaking—her vocals soared with raw intensity, making for an unexpectedly emotional moment of the show. The grand finale, The Greatest Show , was a spectacle in itself, with Alex Watson commanding the stage as Barnum and gathering the entire ensemble back together for a final moment of theatrical magic with high-energy choreography and tumbling tricks. Everyone on stage radiated joy—it was clear they were having the time of their lives! The projected backdrops were large, beautiful, and perfectly suited to each segment. Costumes were appropriately chosen, and the lighting—particularly in the Hairspray and Mamma Mia numbers—was used to full effect potential. Alongside the grand ensemble pieces, we were treated to some outstanding solos and interspersed scenes that offered context for each musical, which really enhanced the revue format. Despite facing a shortened rehearsal period due to Cyclone Alfred, Encore didn't seem underprepared. The cast and creative team put together a wonderful show that celebrated theatre with passion and joy. There was a palpable sense of fun on stage, and that energy extended out to us in the audience. Communication in Action once again proved their ability to wrangle a massive cast (and many quick changes!) into a cohesive, entertaining, and high-calibre production. If Encore were an auction of musical theatre’s greatest hits, then every number was a gem that had the audience bidding for more.

Title: Purgatory Presented By: Maleny Players Genre: Black Comedy, Drama, Horror Synopsis: Set in a questionable Sydney nursing home in 1997, Purgatory is a darkly comic play infused with drama and a touch of horror. Featuring original songs and music, the play blurs the line between fact and fantasy as we step into the lives of a matron driven by duty and compulsion, an elderly woman trapped within her own world, and an unscrupulous, profit-driven doctor. The story is brought to life by a mix of competent and incompetent staff caring for an eclectic group of mismatched residents. Audition Details: Audition Dates: Saturday, April 12th & Tuesday, April 15th Audition Time: April 12th at 2:00 PM & April 15th at 6:00 PM Audition Location: Playhouse, Maleny Showgrounds Audition Requirements: Cold reads from the script. Singing may be required for some roles. Audition Registration: For more information, contact dresses7@gmail.com Available Roles The Residents Elizabeth Durham: Female, 65+. Disabled by a stroke. Young Elizabeth Durham: Female, 40+. The omnipresent younger Elizabeth. Mr Roger Parkes: Male, 65+. A sometimes comical, sometimes confused resident. Hilda Dudgeon: Female, 60+. Foul-mouthed, demented ex-nun and nursing home escapee. Ivy Miller: Female, 60+. Sometimes drowsy, sometimes won’t stop talking. Bert: Male, 60+. A crusty veteran confined to a wheelchair. Mrs Crow: Female, 60+. A sweet, befuddled, and forever lost resident. Brian: Male, 60+. Well-dressed, upper-middle-class resident. Additional Residents: Various speaking and non-speaking roles. The Outsiders Father Patrick Dutton: Male, 55+. A priest and volunteer pianist. June Farrow: Female, 60+. Mrs Durham’s able-bodied sister and only visitor. Ambulance Officer: Male or Female, 25+. Miscellaneous Nurses, Visitors, Extras: Various speaking and non-speaking roles. The Staff Matron Lina Heydrich: Female, 40+. The head nursing sister, professional, firm, ruthless, secretive, and frightening with OCD. Dr Jeremy Mowbray: Male, 50+. Unscrupulous owner and resident doctor. Angela: Female, 25+. AIN, activities officer, and singer. Likeable and insightful. Judith Sommers RN: Female, 30+. Diligent, dedicated, friendly nurse. Amanda Holden AIN: Female, 25+. Emotionally dysfunctional, funeral-obsessed asthmatic. Diego Delgado N.A: Male, 35+. Spanish-speaking Argentinian nursing assistant. Jeff N.A: Male, 25+. Indifferent carer and comic relief. Danica: Female, 30+. Abrupt and unintentionally rude tea and laundry lady. Performance Dates: July 25th–27th & August 1st–3rd Warnings: Mature themes, dark comedy, and elements of horror.

Title: Gilbert & Sullivan Spectacular Presented By: Queensland Musical Theatre Genre: Musical Theatre / Operetta Audition Dates & Times: Saturday, 12 April 2025 9:30 AM - 2:00 PM Audition Location: Queen Alexandra Home, 347 Old Cleveland Road, Coorparoo, Brisbane Audition Registration Form: Click here Audition Requirements – Singing: There are set pieces of music to be learned which will be emailed out to you with your confirmation of audition. An accompanist will be provided. ALL auditionees must attend a singing audition in groups. Prepare your preferred part (Soprano, Alto, Tenor, Bass) in: HAIL POETRY CACHUCHA: Sections C & D Ladies' Voices Auditions: 9.30 a.m. Sopranos & Altos: Prepare TWENTY LOVE-SICK MAIDENS Gentlemen's Voices Auditions: 11.00 a.m. Tenors & Basses: Prepare MARCH OF THE PEERS: Sections C to E incl. All voices blended at 12.00 p.m. Note: If you cannot attend these times, please comment in the box on the form for an alternative arrangement. Audition Requirements – Dance and Movement: Dance Audition Time: 1:00 PM - 2:00 PM Dance auditions are for those interested in featured or ensemble dance segments, especially Cachucha. If you are unable to attend at this time, please select the video audition option on the form. Performance Details: Event: Gilbert & Sullivan Spectacular – Grand Finale Date: Sunday, 8 June 2025, 3:00 PM Venue: Brisbane City Hall, King George Square, Brisbane Approximate Duration: 2 hours (Including 20-minute interval) Cast & Performers: Mirusia Louwerse (Soprano) Jessica Low (Mezzo) Billy Bourchier (Tenor) Jason Barry-Smith (Baritone) Matthew Broadbent (Bass) UQ Singers Brisbane Chorale EnsembleQ Director: Jason Barry-Smith Conductor: Paul Dean QMT Musical Director: Gerry Crooks QMT Dance Captain: Sienna Ball Ticket Link: Purchase Tickets For more information on auditions and to register, visit Queensland Musical Theatre Auditions.

Title: Downtown! The Mod Musical Presented By: Footlights Theatrical Genre: Musical Synopsis: Downtown! The Mod Musical is a vibrant, high-energy jukebox musical that transports audiences back to the swinging sixties, celebrating an era of iconic fashion, freedom, and unforgettable pop music. Following the lives of five groovy women navigating love, independence, and self-discovery, the show is set to a soundtrack of chart-topping hits from legendary female artists like Petula Clark, Dusty Springfield, and Lulu. Through a series of comedic and heartfelt vignettes, Downtown! explores their journeys from wide-eyed optimism to the realities of modern womanhood—all while rocking out to the era’s biggest anthems. Featuring songs like "Son of a Preacher Man," "These Boots Are Made for Walkin’," and "Downtown," this fun, nostalgic musical is a celebration of friendship, empowerment, and the unforgettable sounds of the ‘60s. Audition Date: 7th April – 7:00-8:30 pm (Dance Call) & Individual Auditions (8:30-9:30 pm) 8th April – 7:00-9:30 pm (Individual Auditions) Audition Callbacks: 9th April, 7:00-10:00 pm (by invitation) Audition Location: Confirm with production company Audition Self-Tape Due (if applicable): Contact footlightstheatricalinfo@gmail.com to discuss video submission options if unable to attend in person. Audition Requirements: VOCAL: Prepare one musical theatre song from the 1960s (one minute each). The second song can be your own choice from the 50s/60s or a similar style. ACTING: Cold reads will be done within your individual audition. DANCE: A compulsory dance call will take place on 7th April at 7:00 pm. Please wear clothes you can move in. Audition Registration: Book your audition here: Audition Form Download the Audition Pack. Available Roles: Blue Girl (Female, 20-30) – A blue-blooded fashion model. Sophisticated, poised, and cool. She is vain and not particularly friendly. Vocal Range: G3 - F5 Yellow Girl (Female, 25-35) – A loud, uninhibited American girl driven by her emotions. A ray of sunshine with a surprising vulnerability. Possesses a big, rock diva belt. Vocal Range: F3 - E5 Orange Girl (Female, 35-45) – The "mother" of the group. Domestic and maternal, she is wise, soulful, and mature, slowly asserting her newfound independence. Vocal Range: F3 - B5 Green Girl (Female, 30-40) – A good-time girl. Blousy, middle-class, and zany. She is a bit frayed at the edges and hopelessly single. A comedian of sorts. Vocal Range: F3 - F5 Red Girl (Female, 18-25) – The "baby" of the group, she is an exciting blend of youthful contradictions. Quirky, enthusiastic, and naïve. A hopeless romantic who is insecure about her looks. Vocal Range: F3 - G5 Performance Dates: 27th - 29th June, 2025 Performance Location: PIP Theatre, Milton Rehearsal Dates: Commences: 27th April Schedule: Mondays & Wednesdays 7:00-10:00 pm, Sundays 12:00-4:00 pm (subject to changes) Compulsory Attendance Dates: 27th April (First Rehearsal) 3rd May (Photo Shoot) 8th June (Slip Rode) 24th & 25th June (Tech Rehearsals) Rehearsal Locations: PIP Theatre, Milton & Wynnum/Chermside-Based Rehearsal Studios (Exact addresses will be provided to the cast.) Production Website: Footlights Theatrical Creative Team: Helen Ekundayo - DIRECTOR & CHOREOGRAPHER Isabelle Quayle - AST. CHOREOGRAPHER Benjamin Richards - MUSICAL DIRECTOR

Title: 84 Charing Cross Road Presented By: Centenary Theatre Group Genre: Play Synopsis: Based on the book by Helene Hanff, 84 Charing Cross Road is a touching and witty true story chronicling the 20-year correspondence between New York writer Helene Hanff and London bookseller Frank Doel. Their transatlantic relationship unfolds through letters, revealing a deep friendship built on their mutual love of literature. Audition Date: Sunday 30th March 2025 Audition Time: 10:00 AM Audition Location and Address: Chelmer Community Centre, 15 Queenscroft St. Chelmer Queensland 4068. Audition Requirements: Cold reads from the script A one-minute personal monologue on your favourite book or author Available Roles: Helene Hanff (Female, 30s/40s) – New York accent Frank Doel (Male, 40s/50s) – British accent Cecily Farr (Female, 20s/30s) – British accent Megan Wells (Female, 20s/30s) – British accent (doubling with Maxine, 30s, American accent) William Humphries (Male, 20s/30s) – British accent Audition Registration: To express interest, DM Director Alison Lees or contact:P hone: 0408 581 311 (leave a message) Email: alisonlees4305@gmail.com Performance Dates: 11th July – 3rd August 2025 Performance Location: Centenary Theatre Group, Chelmer Community Centre, 15 Queenscroft St. Chelmer Queensland 4068. Production Website: Centenary Theatre Website

Title: Broadway in Love Presented By: Heartwarming Productions Genre: Musical Theatre Revue Synopsis: Following the success of Broadway Reversed, Broadway in Love is the next instalment in Heartwarming Productions' Broadway series! This entertaining production will feature iconic romantic songs from beloved Broadway shows. AUDITION DETAILS: Audition Dates: Sunday 30th March Sunday 6th April Sunday 13th April Audition Location and Address: Heartwarming Productions HQ, 366 Sandgate Road, Albion Audition Self-Tape Due (if applicable): If you are unable to attend in person, self-tapes can be submitted. Audition Requirements: Prepare two contrasting musical theatre songs that showcase your strengths and enjoyment. Bring a backing track on your phone/laptop OR email an audio file to heartwarmingproductions@gmail.com at least two days before your audition. A cappella singing is also an option. Available Roles: Seeking talented performers aged 18+ with strong vocal abilities. PERFORMANCE DETAILS: Performance Date: Saturday 21st June (full-day availability required) Performance Venue: The Empress Theatre, Arcana, Moorooka REHEARSALS: Rehearsal Dates & Times: Sundays, 11am – 3pm: 27th April 4th May 10th May (Saturday rehearsal) 18th May 25th May 1st June 8th June 15th June Rehearsal Location: Heartwarming HQ & Backbone (next to the Ron Hurley Theatre) If you have conflicts with any rehearsal dates, please advise before your audition to see if arrangements can be made. ADDITIONAL INFORMATION: This is a paid opportunity. Auditions will be held in person, with self-tapes accepted for those unable to attend. Follow @heartwarmingproductions on Instagram and Facebook for updates and to support local theatre! Audition Registration: To book an audition slot, email heartwarmingproductions@gmail.com with: Your headshot (or a recent photo) and Your CV

Title: Prime Time Broadway Presented By: Honour Productions Genre: Musical Theatre Showcase Synopsis: Prime Time Broadway 2025 celebrates the diversity of life’s relationships, exploring themes of awe, wonder, grief, confusion, and celebration through iconic musical theatre songs. This 75-minute, two-act concert features a multi-generational cast of talented Brisbane performers, accompanied by a live band led by Raymond Hernandez. Audition Date: Sunday 30 March 2025 Audition Time: 3:00 pm – 6:00 pm Audition Location and Address:Unit 3/61 Holdsworth Street, Coorparoo 4151 Audition Requirements: Vocal Audition: Present one musical theatre song of your choice that showcases your vocal range and performance ability. Have a second song prepared (may not be required). Bring a backing track on an aux cable-ready device (speaker will be provided). Dance Call: Group call at 4:30 pm (dancers only). Wear clothes you can move in, including shoes. No warm-up included in the call, so arrive early to warm up. A dance sequence will be taught on the day Audition Registration: Please complete the online registration form by 5pm on Saturday 29 March 2025. Include a headshot and your preferred session time. Audition Pack: Download Audition Pack Available Roles: Performers for solos, duets, small group work, and some younger performer opportunities (10–17 years). We're hoping to discover a multi generational cast of Brisbane artists to perform songs including - Afternoon (Alice by Heart) Climbing Uphill (The Last Five Years) Home (Beetlejuice) I Could Be That Guy (Sister Act) I Know Where I've Been (Hairspray) I Love Betsy (Honeymoon in Vegas) I Love You Like a Table (Waitress) Larger Than Life (My Favourite Year) Michael in the Bathroom (Be More Chill) Nothing Short of Wonderful (Dogfight) People (Funny Girl) Red Ryder Carbine Action BB Gun (A Christmas Story) Six Hours as a Princess (Letters to God) Some Things Are Meant to Be (Little Women) Someone to Fall Back On (Wearing Someone Else's Clothes) Stupid With Love (Mean Girls) What Does She Mean by Love (Daddy Long Legs) What It Means to be a Friend (13 The Musical) What You'd Call a Dream (Diamonds) Performance Dates: Friday, 13 June 2025 (7:30 pm) Saturday, 14 June 2025 (2:00 pm, 7:30 pm) Sunday, 15 June 2025 (6:00 pm) Performance Location: Unit 3/61 Holdsworth Street, Coorparoo 4151 Rehearsal Dates: Rehearsals begin Sunday 22 April and run through to 12 June 2025. Specific rehearsal days are: Sundays, 2 pm – 5 pm Tuesdays, 7 pm – 10 pm Thursdays, 7 pm – 10 pm Tech Week: Sitzprobe: Sunday, 8 June 2025 (2 pm – 6 pm) Technical Rehearsal: Tuesday, 10 June 2025 (7 pm – 10 pm) Dress Rehearsal: Thursday, 12 June 2025 (7 pm – 10 pm) Recommended Age: The performance is open to performers of all ages, with some specific roles for younger performers (10–17 years). Creative Team: Director: Sherryl-Lee Secomb Band Director/Arranger: Raymond Hernandez Choreographer: Jordana Johnstone Vocal Director: Geoff Secomb Sound & Lighting Design: Andrew McNelley Production Website: Honour Productions Other Information: This is an unpaid community performance opportunity. This is a community performance with a focus on diverse, multi-generational artists.

Jane Austen's Pride & Prejudice Presented by: Queensland Theatre Company Venue: Playhouse, QPAC Adapted by: Wendy Mocke and Lewis Treston Directors: Bridget Boyle and Daniel Evans Designer: Christina Smith Composer and Sound Designer: Guy Webster Lighting Designer: Jason Glenwright Choreographer: Nerida Matthaei Production Photography: Morgan Roberts If ever there were a production designed to steal my heart, it was this one. Queensland Theatre Company’s Pride & Prejudice took Austen’s familiar story and gave it a playful theatrical makeover. It embraced the romance (and absurdity) of Regency society without treating the original text like an untouchable museum piece. In Pride and Prejudice, the fiercely independent Elizabeth Bennet navigates love, family expectations and nineteenth-century social politics in a world where marriage can determine a woman’s entire future. When she meets the enigmatic (and maddeningly aloof) Mr Darcy, sparks fly... but not necessarily in a good way. Misunderstandings, meddling relatives and more than a few scandals stand between them, forcing both to confront their own pride and prejudices. Will they see past their first impressions, or are they doomed to become each other’s greatest regret? The moment the overture began, I recognised it instantly: Duomo’s version of Taylor Swift’s Wildest Dreams (yes, the one you know from Bridgerton). From that first note, the production established its intentions. This adaptation would honour Austen’s story while happily raiding the twenty-first century for music and movement. At first glance, the stage seemed deceptively simple: a bare wooden floor that gave the actors complete freedom to move. But beneath that simplicity lay a cleverly designed world by Christina Smith. A multi-level structure stood at the back, its three concealed doors subtly adorned with a large map of England. More than just entry and exit points, these doors felt symbolic, hinting at the different paths and choices the characters might take. Framing it all was lush greenery, evoking the beauty of the English countryside. Every design choice felt intentional, striking a balance between historical authenticity and contemporary flair, creating a visual link between past and present. Intricate scale models of Longbourn, Netherfield, Rosings and Pemberley transformed the setting between scenes. Even the changing seasons were marked in unexpected and creative ways. Jason Glenwright’s lighting design gave each location its own atmosphere and became especially impressive during the larger ballroom sequences and the eventual reveal of Pemberley, as seen in Morgan Roberts’ photographs. Period-appropriate costuming also captured the era’s aesthetic and subtly reinforced the characters’ social standings and personalities. The Bennet family’s attire was simple and understated, a quiet nod to their modest means. Elizabeth stood out in her flattering baby-blue dress, while Jane exuded grace in coral red. In contrast, the Bingleys were draped in richly detailed fabrics, their opulent wardrobe a clear reflection of their higher social status. The show fully embraced an anachronistic blend of period and modern aesthetics, especially in its dance sequences. Think classical spins on pop hits: Florence + The Machine’s Dog Days Are Over and Billie Eilish’s Bad Guy underscoring ballroom moments. And then came the boldest choice of all: a ballroom scene set to Rihanna’s S&M, complete with a glitter curtain and disco lights. It was unexpected, audacious and ridiculously fun! This playful collision of past and present didn’t just serve as a stylistic flourish. It actively reshaped the way the audience experienced the story. Hearing The Pussycat Dolls’ When I Grow Up underscore Lydia and Wickham’s storyline? Genius. The choreography by Nerida Matthaei embraced the Regency-rave aesthetic with full commitment. Every dance number crackled with the flirtatious spirit of a social season in full swing, with elegant Regency steps colliding with uninhibited club-style movements. This fusion of styles reinforced the show’s irreverent approach to Austen’s themes, challenging traditional notions of social interaction, courtship and societal expectations. The production never settled into predictability. Instead, it thrived on spectacle that kept audiences guessing at every turn. The performances were just as vibrant as the production itself. Madison Burridge was an absolute joy to behold as Elizabeth Bennet. She captured her spirited nature, intelligence, quick wit and unshakable confidence. A true leading lady, Burridge made Elizabeth feel refreshingly modern without losing her Regency charm. Burridge’s comic reactions were often as entertaining as the dialogue, landing every quip and retort with precision, especially in those delicious moments when Elizabeth cut through the societal nonsense with a single, perfectly placed remark. Plus, her exaggerated mimicry of Mr Darcy was particularly adorable. When it came to Mr Darcy, Andrew Hearle arrived with the necessary reserve and aristocratic stiffness (truly the tall, dark and handsome archetype). His chemistry with Burridge crackled with intrigue, their exchanges layered with disdain, attraction and misunderstanding. Every sidelong glance and barbed remark was brimming with subtext. The slow burn of their dynamic kept the audience hanging on every word and every charged silence. Hearle’s physicality was quintessentially Darcy. His rigid posture, carefully measured movements and reluctance to display emotion made Darcy radiate aristocratic detachment, as though he had been trained from birth never to look comfortable in public. But beyond the exterior, his delivery was meticulously crafted, channeling just enough Colin Firth to make me question whether he might actually be British. He leaned into Darcy’s aloofness with an almost comically rigid stiffness, making his eventual thaw from emotionally stifled gentleman to someone capable of warmth and sincerity all the more satisfying. And then there was Jeremiah Wray as Wickham. He oozed charm with just the right amount of duplicity. His interplay with Burridge carried an enticing sense of risk, with every smile concealing information Elizabeth had not yet learned. They did not just flirt. They danced around one another, every interaction laced with an undercurrent of danger. Cameron Hurry’s Mr Collins was the kind of character you love to loathe: utterly insufferable yet impossible to ignore. Every carefully crafted acting choice made your skin crawl, from his awkward social interactions to his delusions of grandeur and exaggerated self-importance. He fully embraced the character’s eccentricities, creating moments that were cringeworthy and uproariously funny. And then there was that voice. A bizarrely nasal affectation so distinct and jarring that I’m convinced if I tried to mimic it, I’d be forever trapped in its strange cadence. It was a voice that seemed to echo with an insistent need for validation, perpetually seeking approval from those around him while simultaneously repelling them with his incessant prattle. It was Hurry’s sheer commitment to the role that elevated him to a comedic highlight of the performance. Amy Ingram was a revelation as both Charlotte Lucas and Caroline Bingley, brilliantly switching between the two very different characters. She brought a wonderfully pompous air to Miss Bingley, playing her with sharp snobbery, and then switched gears to portray Charlotte’s more grounded, down-on-her-luck nature with subtlety and heart. William Carseldine’s portrayal of Mr Bingley was full of charm. He played the bashful, adorably awkward gentleman with such sincerity, especially in his swooning over Jane, and honestly, it made me wish real-life men would be so unabashedly smitten. The Bennet family dynamic was a riot, with each member bringing their own brand of chaos. Gael Ballantyne’s portrayal of Mrs Bennet was gloriously dramatic, capturing the frantic urgency of a mother obsessed with marrying off her daughters. Her scheming and shrill outbursts never failed to get laughs, especially when paired with her cartoonish strut, an exaggerated walk that perfectly encapsulated her desperate personality. As Mr Bennet, Bryan Probets was the perfect foil to his wife’s frantic energy. His dry wit and nonchalant attitude subtly stole scenes as his sarcastic delivery punctuated the chaos around him. The father-daughter dynamic with Elizabeth felt natural and endearing, and his appearances in the ballroom scenes, where he danced like nobody was watching, were an unexpected but side-splitting highlight. Perry Mooney’s Jane Bennet was the epitome of calm elegance, offering a clear contrast to Elizabeth’s sharper temperament. Mooney’s performance was particularly notable for its subtlety. She conveyed Jane’s lovesickness over Mr Bingley with such depth that you could feel every ounce of hope and heartbreak as if they were your own. In stark contrast, Courtney Cavallaro and Daphne Chen brought Lydia and Kitty Bennet to life with chaotic energy that was utterly entertaining. The duo’s performances were a whirlwind of youthful frivolity. Their scenes buzzed with raucous energy, aligning perfectly with the script’s intention to depict the two youngest Bennet sisters as exuberant and somewhat reckless. Cavallaro’s portrayal of Lydia, in particular, stood out. Her grating voice and childlike antics painted Lydia as a girl lost in the throes of make-believe, desperately pursuing attention and validation. Chenoa Deemal turned Mary Bennet into an unexpected scene-stealer. Rather than allowing Mary to disappear behind a book, Deemal gave her a cynical, observant intelligence that recalled an Austen-era Eloise Bridgerton. She watched her family’s behaviour with the expression of someone already preparing the essay she would later write about them. The five Bennet sisters formed a convincing spectrum of womanhood, each responding differently to the expectations placed upon them. Directed by Daniel Evans and Bridget Boyle, the production’s pacing was expertly balanced, with Act Two’s shift from comedy to drama hitting all the right emotional beats. But it was Lizzy’s monologue on womanhood that truly stood out to me. It was a powerful reminder of why Austen’s work remains so relevant today. Her words echoed with the struggles and triumphs of women, highlighting issues of agency and societal expectations that remain pertinent across generations. The depth of Burridge’s performance brought the audience into a hushed silence, allowing the weight of these insights to settle deeply into every heart in the room. And then, there was the breathtaking Pemberley reveal. The scene unfolded with enchanting theatrical magic. Cascading petals floated gracefully down and twinkling lights created an ethereal atmosphere as the strings swelled. It was a moment that took your breath away, symbolising the hope and possibilities that awaited our leading lady. By the final scenes, I found myself kicking my feet and giggling girlishly. For a few hours, I was completely transported into this world, absorbed in the intricacies of the characters’ lives, and I never wanted to leave. The production invited its audience to become caught up in the laughter, tears and messy complications of human connection. With its final weekend at QPAC cut short by Cyclone Alfred (the fiend!), I was lucky to catch the relaxed performance, although ‘relaxing’ is not quite the word I would use. The house lights remained dimly illuminated and the sound levels had reportedly been reduced, yet from the back of the stalls I still found the environment claustrophobic and overstimulating. A persistent cougher beside me prompted several audience members to relocate. At interval, I seized the opportunity to move to the front row of the balcony, which proved an excellent decision and gave me a stunning view of the second act. The midweek matinee was packed with excitable school groups and retirees, resulting in a noisy but enthusiastic audience. This QTC production was a triumph of clever adaptation, stunning visuals and stellar performances. It honoured the wit and charm of Austen’s original while injecting an audacious theatricality that made it feel thrillingly alive. And it served as a pointed reminder that Pride & Prejudice has been setting unrealistic expectations for romance since 1813.

Title: Come From Away Presented By: Ipswich Musical Theatre Company Genre: Musical Theatre Synopsis: Come From Away tells the true story of when seven thousand people from across America and around the world landed unexpectedly in the small town of Gander, Newfoundland, on September 11th, 2001. As the world witnessed acts of terror, the people of Gander opened their hearts, offering food, shelter, and compassion, restoring faith in humanity. Audition Details: Audition Times: Sunday 4th May 2025 10am - 6pm Monday 5th May 2025 6pm - 10pm Audition Location and Address: The Old Courthouse, Cnr. Roderick & Ginn St, Ipswich Call-backs (if required): Sunday 18th May 2025 Audition Requirements: To secure your audition, complete the online registration form by 30th April 2025. Prepare a song in the style of the show that best showcases your vocal ability. Be prepared to participate in a movement audition. Readings may be required for specific roles. INDIVIDUAL VOCAL/ACTING CALL 5 to 10-minute Please prepare TWO CONTRASTING SONGS (approximately 60 second cuts) in the style of the show - Folk, Celtic, Contemporary-Rock, Pop, Broadway-Rock. Songs are NOT to be from Come From Away. Songs will be performed with Backing track. You can provide your backing track file by email prior to your audition, or provide on USB on your audition day. Please provide a CV with headshot. The headshot is for identification purposes only and will not be returned. PLEASE NOTE - NO ACCOMPANIST WILL BE PROVIDED - you may self accompany if you are a singer/musician. Please familiarise yourself with Newfoundland (HIGH PRIORITY), General American and RP British Accents. CALLBACKS - Movement Call All performers who secure a callback are required to participate in a group movement call led by our choreographer. Please wear suitable clothing and shoes CALLBACKS - Group Vocal Workshop Callbacks will continue with a vocal workshop testing ability to quickly learn parts, harmonise, blend and take vocal direction etc. CALLBACKS - Solo Vocal / Scene-Work This session will conclude with scene-work and presentation of specific solo vocal material. The creative team will be seeing role-specific material (provided following first round auditions) and workshopping with performers. Audition Registration: Register Here Audition Pack: Download Here Scheduling Rehearsal Dates: From 8th June 2025 with dress rehearsals from Monday 1st September Rehearsal Times: Mondays 7 - 10pm Thursdays 7 - 10pm Sundays 1 - 5pm Rehearsal Venues: Please note that rehearsals will take place between The Old Courthouse (Ipswich) and Davidia Lind Dance Centre (Mansfield). Performance Dates: 13th - 21st September 2025. Additional performances between 13 - 21 September may go on sale to meet demands. Performance Location: Ipswich Civic Centre, 50 Nicholas Street, Ipswich QLD 4305 Creative Team: Director: Thomas Armstrong-Robley Musical Director: Matt Rofe Choreographer: Simon Lind Production Website: Ipswich Musical Theatre Company Other Information: This is an amateur production. No roles are paid. If you are offered a role, there is a $35 annual membership fee. Successful auditionees will be contacted by phone and email. Unsuccessful auditionees will be contacted by email. Available Roles: Diane (Female Identifying | Stage age 50s-60s | All Ethnicities) A traditional divorcee from Texas who discovers a wilder side of herself. Vocal Range: Warm, natural contemporary Soprano with strong mix up to D5. Secondary Roles: Crystal, Brenda Hannah (Female Identifying | Stage age 40s-60s | All Ethnicities) The mother of a Manhattan firefighter, waiting for news of her son. Vocal Range: Contemporary Soprano with strong pop belt and mix up to E5. Secondary Roles: Margie, Mickey BIPOC artists are strongly encouraged to apply Janice (Female Identifying | Stage age 20s | All Ethnicities) A new TV reporter covering the events of 9/11. Vocal Range: Contemporary Soprano with strong pop belt and mix up to E5. Secondary Roles: Britney, Flight Attendant Beulah (Female Identifying | Stage age 40s-60s | All Ethnicities) Head of the Gander Legion, who comforts Hannah. Vocal Range: Mezzo with belt up to B4. Secondary Roles: Delores Beverley (Female Identifying | Stage age 40s-50s | All Ethnicities) The first female American Airlines captain. Vocal Range: Strong mezzo with an easy mixed or belted C#. Secondary Roles: Annette, Reporter Kevin T (Male Identifying | Stage age 30s-40s | All Ethnicities) Head of an environmental energy company, inspired by Gander’s kindness. Vocal Range: Strong contemporary Tenor up to G4. Secondary Roles: Garth, President Bush Kevin J (Male Identifying | Stage age 30s-40s | Middle Eastern, Asian, Latino, or African American) Kevin T’s boyfriend and secretary, sarcastic and reluctant. Vocal Range: Tenor or Baritone. Secondary Roles: Ali, Dwight We encourage anyone who identifies as Muslim or can speak Arabic to audition for this role. Oz (Male Identifying | Stage age 30s-50s | All Ethnicities) The quirky constable in the Gander police force. Vocal Range: Strong contemporary Tenor up to G4. Secondary Roles: Joey, Customs Officer, Mr. Michaels, Terry, Matty, Rabbi, Head Cardiologist We encourage anyone who identifies as Jewish or can speak Hebrew to audition for this role. Bonnie (Female Identifying | Stage age 30s-40s | All Ethnicities) Head of the Gander area SPCA, passionate about saving stranded animals. Vocal Range: Mezzo with belt up to B4. Secondary Roles: Martha Bob (Male Identifying | Stage age 20’s – 40s | African American) A hardened New Yorker, Bob is suspicious of where he’s landed. Vocal Range: Baritone Secondary Roles: Muhumuza, Captain Bristol Nick (Male Identifying | Stage age 50’s – 60s | All Ethnicities) An English oil engineer who is focused on his work, Nick’s life is turned upside down when he falls for Diane. Vocal Range: Warm, natural Baritone or Baritenor with an easy E4 and strong pop sensibility. Secondary Roles: Doug, Officer Stephenson, Male townsperson Claude (Male Identifying | Stage age 40’s – 60s | All Ethnicities) The gregarious and well-liked Mayor of Gander, Newfoundland, Claude loves his work, the townspeople and his daily traditions. Vocal Range: Gruff, natural sounding Baritone with a strong High G4 Secondary Roles: Derm, Brenda’s Brother, Eddie Note: This is an ensemble-heavy production with actors playing multiple roles.

Title: The Servant of Two Masters Presented By: Growl Theatre Genre: Comedy, Commedia dell'arte Synopsis: Truffaldino, a wily servant, has found a way to double his income – work two jobs for two masters at the same time. What could possibly go wrong? Hang on. His first master is actually a woman disguised as a man (who’s dead) come to find her lover (who killed her brother), but now finds herself accidentally betrothed to a girl (who’s engaged to someone else). His second master is a man (actually a man) who is in love with his first master (who’s really a woman whose brother he actually killed). Nah. What could go wrong? Audition Date: Wednesday 12th March 2025 Audition Time: 6:30pm to 9:00pm Audition Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor Audition Requirements: Combination of prepared piece and cold read: auditionees should familiarise themselves with the provided prepared pieces but also be ready to do a cold read. Email a headshot and acting CV to the Directors at production@growltheatre.org.au. Membership fees: If cast, actors must become a 2025 financial member of Growl Theatre ($30 per calendar year, expiring December 2025). Audition Registration: Register here Audition Pack: Available here Available Roles: Truffaldino (Male, 20s to 40s): Servant of Beatrice (disguised as Signor Frederigo Rasponi). A lovable scoundrel, always out for a buck and some food. Must have strong comedic timing. 'Ocker' accent is welcome. Pantalona (Female, 50s to 60s): Mother of Clarice, a gender-swapped version of Pantalone. A wealthy, greedy merchant at the top of the social order. Clarice (Female, 20s): Daughter of Pantalona, a romantic lead betrothed to Silvio but formerly engaged to the now-deceased Signor Frederigo Rasponi. Silvio (Male, 20s): Handsome young son of Dottore; newly betrothed to Clarice. Dottore (Male, 50s to 60s): Father of Silvio; pompous, egotistical, and frequently breaks into Latin. Smeraldina (Female): This role has been precast. Beatrice (Female, 20s to 30s): Loving sister of Signor Frederigo Rasponi; disguised as her deceased brother while searching for her lover, Florindo. Feisty. Florindo (Male, 20s to 30s): Lover of Beatrice; honourable and upright. Brighella (Any gender, 40s to 60s): Local innkeeper. Waiter/Porter (Any gender, any age): Minor roles, possibly doubled. No preparation required; auditionees will be given a piece to perform on the night. Performance Dates: 14th - 28th June 2025 Performance Location: Windsor School of Arts, 381 Lutwyche Rd, Windsor Rehearsal Dates: Starting Sunday 30th March 2025 Rehearsal Times: Sundays: 1:30 pm - 4:30 pm Mondays & Thursdays: 6:30 pm - 9:30 pm Creative Team: Directors: Rebecca McMahon, Gemma Keliher Stage Manager: Tom Glassock Set Designer: Jason Sharland Production Website: Growl Theatre - The Servant of Two Masters Other Information: This production embraces Commedia dell'arte techniques, including exaggerated physical comedy, masks, and improvisation. Actors should be prepared for a physically demanding performance. Previous experience with comedy or physical theatre is a bonus but not required.