Title: Little Women Musical Presented By: Phoenix Ensemble Genre: Musical Theatre Synopsis: Based on Louisa May Alcott’s classic novel, Little Women tells the story of the March sisters—Jo, Meg, Beth, and Amy—navigating life, love, and loss during the American Civil War. Jo March, a determined writer, recounts their adventures through fantasy and reality, creating a tale of ambition, heartache, and sisterhood. This beautiful Broadway musical features emotional depth, captivating music, and the enduring themes of family and resilience. Audition Dates & Times: Individual Auditions: Friday, 17th January 2024 (6:00 PM – 9:30 PM) Saturday, 18th January 2024 (9:15 AM – 12:45 PM | 2:00 PM – 5:30 PM) Sunday, 19th January 2024 (11:00 AM – 12:45 PM | 2:00 PM – 5:30 PM at alternate venue TBC) Dance Call: Sunday, 19th January 2024 (9:00 AM – 10:45 AM at alternate venue TBC) Callbacks: Saturday, 25th January 2024 (10:00 AM – 4:00 PM) Audition Location: Phoenix Ensemble Theatre, Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Audition Requirements: Singing: Prepare two contrasting 30-45 second songs similar to the genre but not from the show. Backing tracks must be brought on USB, device, or as a YouTube link. Acting: Prepare a monologue or duologue (30 seconds – 2 minutes) in a General American accent. You may bring your own or use one from the Audition Monologues Pack. Dance: Jo, Meg, Beth, Amy, and Laurie auditionees must attend the group dance call (comfortable clothing and footwear required). Callbacks: Auditionees will receive scene work or songs to prepare. Audition Registration: Book your audition slot at Phoenix Ensemble Auditions. Available Roles: Jo March (Lead, Mezzo-Soprano, E3–A5) The headstrong, confident writer with boundless energy and ambition. Requires strong acting, physicality, and vocal ability. Meg March (Soprano, A#3–Gb5) The sensible eldest sister longing for a romantic, traditional life. Beth March (Soprano, A3–G5) The heart of the family—gentle, kind, and full of optimism. Amy March (Mezzo-Soprano, A#3–Gb5) The youngest March sister—youthful, ambitious, and determined to succeed. Marmee March (Mezzo-Soprano, Eb3–Eb5) The strong, compassionate matriarch holding the family together through hardship. Aunt March / Mrs Kirk (Alto, E3–F5) The wealthy and opinionated aunt, with moments of hidden warmth. Mrs. Kirk runs the boarding house. Laurie Laurence (Tenor, Bb2–Bb4) The charming and energetic boy-next-door who shares a deep bond with Jo. Mr Laurence (Baritone, D3–E4) Laurie’s grandfather, softened by the kindness of the March sisters. Mr John Brooke (Baritone, C#3–F#4) Laurie’s tutor and Meg’s love interest. Professor Bhaer (Baritone, G2–F#4) A reserved German professor who mentors Jo and challenges her writing. Rehearsal Schedule: Commences: Sunday, 9th February 2024 Days/Times: Mondays & Wednesdays: 7:00 PM – 10:00 PM Sundays: 1:00 PM – 6:00 PM Tech Period: Monday, 13th April – Final rehearsals through Easter. Important: Jo March will require a minimum of 70% attendance throughout the rehearsal period. Performance Dates: Season: 2nd May – 25th May 2024 Performance Times: Friday evenings Saturday matinees & evenings Additional Notes: Minimum audition age: 16 years. All performers must obtain a valid Blue Card and become financial members of Phoenix Ensemble ($10). Intimacy and combat scenes will be choreographed by a professional intimacy coordinator and fight choreographer for safety. Production Team: Director: Tammy Sarah Linde Musical Director: Kym Brown Choreographer: Hannah Macri Associate Director: Luke O’Hagan Production Website: Phoenix Ensemble Auditions Audition Pack: Download Here Audition Monologues: View Here For additional questions or changes to your booking, contact auditions@phoenixensemble.com.au

By Don DeLillo Directed by Michael Futcher Ad Astra Theatre, Brisbane Ad Astra Theatre wrapped up their year with a powerful and thought-provoking production of Love Lies Bleeding . It left this audience member grappling with questions about life, suffering, and the responsibilities we hold for loved ones. Presented in the intimacy of Ad Astra’s studio theatre, the play drew audiences into its gripping debate with raw emotional intensity, compelling performances, and a script that demanded both intellect and empathy. Don DeLillo’s Love Lies Bleeding  explores the complex intersections of life, death, and moral dilemmas that arise when we attempt to prolong the inevitable. Under Michael Futcher’s masterful direction, the five-person cast wove a hauntingly poetic narrative, blending sharp dialogue, devastating truths, and moments of dark humour. The plot centres on Alex Macklin, a celebrated artist left in a persistent vegetative state after a second major stroke, as his fourth wife, Lia (Carla Haynes), his second wife, Toinette (Helen Howard), and his son, Sean (Spencer Cliff), wrestle with the decision to end Alex’s life. The performances were exceptional, capturing the emotional complexity of each character. Spencer Cliff portrayed Sean with an awkwardness that evolved into poignant depth. Playing the conflicted son, Cliff took us on a journey—from clinically explaining “terminal sedation” to delivering a gut-wrenching speech to his father. His shaky hands, visible perspiration, and inability to look at his father perfectly conveyed guilt and fear in a deeply human and tender way. Helen Howard’s Toinette started off with some biting wit, but as the story went on, you could really see her vulnerability and grief come through. Playing Alex’s second and longest wife, she portrayed a woman navigating the painful terrain between duty and heartbreak. One scene that really hit home was a flashback where Toinette and Alex looked back on their 11 years together. Carla Haynes shone as Lia, embodying patience and tenderness even in the face of immense pressure and sadness. Her portrayal as Alex’s fourth (and current) wife struck a balance between unshakable devotion and emotional unravelling, with her caring nature teetering on the edge of obsession. Her final scene with Alex was a real tearjerker, as her endurance and love were pushed to their limits. Greg Gesch excelled in his portrayal of Alex in a vegetative state through his physical acting. His eerily controlled stillness—accentuated by intentional slow blinks and subtle movements—commanded the stage, expressing a deep sense of fragility. In the flashbacks, John Stibbard infused Alex with vitality, heightening the tragedy of his decline. It becomes clear that Alex was not always an ideal father or husband, but he was intriguing and passionate as a person. The production’s design elements elevated its impact. Ada Lukin’s minimalist set featured real sand and a broken wooden structure, placing the audience in the isolation of the desert. Sparse furniture, including Alex as a constant presence in his chair with his IV drip, grounded the story in the stark reality of Alex’s condition. Madelyne Leite’s lighting skilfully shifted between the cool blues and warm oranges of memory and present, while the sound design—with gentle winds, crickets, and haunting piano tunes—pulled the audience into the play’s reflective mood. The play’s structure, with its interspersed flashbacks and flash-forwards, kept things moving and packed an emotional punch. The scenes were sharp and impactful, like chapters in a short story, with each glimpse into the characters’ lives adding more depth, e.g. A flashback to Alex recovering after his first stroke or a flash-forward to Sean’s funeral speech. The ethical debates surrounding life and death were compelling and multifaceted. Lia’s insistence on Alex’s right to continue living clashed with Sean and Toinette’s desire to release Alex—and themselves—from the suffocating burden of his continued existence. Their arguments were selfish yet achingly human, leaving the audience to wrestle with the morality of their own perspectives. By the final flash-forward, the aftermath of their decision was revealed. Lia’s funeral speech, delivered with stoic anger, reflected her profound sense of failure and heartbreak, leaving the audience in stunned silence. The intimacy of Ad Astra’s space truly amplified the play’s emotional resonance for me. The intimacy of the space magnified every performance detail, from Spencer’s beads of sweat to Carla’s tense jaw and Greg’s haunting stillness. The climactic moment, when Sean administers morphine to Alex, was agonisingly tense. Sean’s fumbling hands and Toinette's unravelling guilt created unbearable suspense as Alex’s breathing slowed. Greg Gesch’s extraordinary breath control made that moment viscerally real. Ad Astra’s bold choice to stage ' Love Lies Bleeding'  is praiseworthy and it ignited conversations about end-of-life ethics and our privilege of witnessing such raw live theatre. ' Love Lies Bleeding'  was not an easy watch, but it was a remarkable exploration of mortality and morality. With Futcher’s sensitive direction and an outstanding cast, this production brought DeLillo’s words to life in a way that was as thought-provoking as it was deeply moving.

' Winona ', presented at PIP Theatre as part of the MELT Festival 2024, is an experimental and intriguing theatre piece that defies easy explanation, but that’s part of its charm. Written by and starring Ebony Rattle, the show explores the messy realities of life, relationships, and identity through the lens of two characters: Special K (played by Ebony Rattle) and Billie (played by Stella Robinson). Over the course of an hour, we were taken on a whirlwind journey through their undefinable relationship, which is equal parts romantic, chaotic, tender, and turbulent. The performance held my attention for the entire hour, especially impressive since it involved just two performers. Rattle and Robinson displayed a genuine chemistry, bouncing easily between various scenes. The show had a raw yet well-rehearsed quality. While I couldn't personally relate to some themes, such as the exploration of queerness or the struggles with depression, I could still value the authenticity and human element in the storytelling. The show had an unconventional structure, with abrupt changes in thoughts and themes, similar to the chaotic mind of a neurodiverse person. This disorientation was effective, reflecting the unpredictability of the characters' lives. While the props and costumes seemed odd at first, they were purposefully used and never felt out of place. What impressed me the most was the ambition in Rattle's writing. Winona is more than just a story; it's a statement. The themes are heavy, yet they are handled with a mix of humour and depth that maintains the audience's interest. It felt like a piece made for those who have wrestled with mental health challenges or identity questions—a deeply personal yet universal exploration.

Eurovision fans packed out The Tivoli in Fortitude Valley for an unforgettable night of glitz, glamour, and high-energy performances during Eurovision on Tour . I had no clue what to expect, but I knew I was in for a night of epic show-stoppers and couldn’t wait to see Aussie royalty, Dami Im. This wasn’t just any concert – it was an all-out extravaganza. The Tivoli was buzzing, packed with Eurovision fans who seemed to have jetted in from every corner of the globe. Fans came dressed to impress in true Eurovision style, and the crowd’s energy was so intense that even the performers were like, “Whoa, Brisbane, calm down.” We got an amazing visual introduction to each act, including a virtual map that showed the artists’ represented countries, paired with TikTok and Instagram snippets about themselves and their cultures. The night was hosted by the charismatic Soraya from Spain (Eurovision 2009) and the fabulous Senhit from San Marino (Eurovision 2011, 2020, 2021). These two were a comedic duo, charming everyone with their antics and even mastering some Aussie slang like "schnitty" and the classic cheer "Aussie, Aussie, Aussie, Oi, Oi, Oi" – much to the crowd’s delight. Dami Im (Australia, 2016) strutted onto the stage and blew the roof off, earning thunderous applause that lasted well beyond her performance. Her powerhouse vocals were a crowd favourite, and Brisbane certainly showed her the love she deserved. Destiny (Malta, 2020, 2021) also made a lasting impression, her soul-stirring voice bringing the house down with effortless power. Efendi (Azerbaijan, 2020, 2021) ignited the night with bold beats and hypnotic choreography to ' Mata Hari'  and ' Cleopatra '; an immersive experience that transported viewers into a world of rhythm and elegance. Adding to the excitement, the Sunstroke Project (Moldova, 2010, 2017) had the crowd screaming, featuring the viral sensation known as "Epic Sax Guy". The Roop (Lithuania, 2020, 2021) whipped the audience into a frenzy with their quirky dance moves and slick, contemporary beats. While each act shone, special love was shown to Brissy’s own Dami Im and young Aussie artist Silia Kapsis (Cyprus, 2024). At just 17 years old, Silia showcased an impressive stage presence that belied her youth, captivating the audience with her undeniable talent and charisma. Her performance not only highlighted her vocal and dance abilities but also her potential as a rising star in the music industry. The evening wasn’t just about individual performances. The backup dancers were INCREDIBLE, effortlessly switching between different dance styles. They were a visual treat and added a new layer of energy to each act. A surprise collaboration saw Linda Martin, Esther Hart, and Nicki French come together for a spirited rendition of ' Waterloo'  – a crowd favourite and one of the few songs I could confidently sing along to! Senhit, often dubbed the "Freaky Queen," was an undeniable standout of the night for me. She delivered multiple hits, including ' Freaky!' (2020) and ' Adrenalina'  (2021), with an effortless mix of power and playfulness. Her costumes were bold and dazzling, perfectly complementing her theatrical performance style. One of the most fun moments of the night was the yodelling/rap performance by Ilinca and Ovi (Romania, 2017), a truly unique act that made the crowd cheer with laughter and admiration. Then there was ' Volare ', performed by the delightful duo Jalisse (Italy, 1997), which had the audience singing along to the familiar tune. I imagine this is Italy's equivalent of 'Hey Baby,' a song that everyone knows and will sing spontaneously. But the surprises didn’t stop there. Suzy from Portugal got everyone on their feet and moving, starting an impromptu conga line. Special mention to Soraya from Spain, who rocked the same outfit she wore when she performed in 2009 – a fantastic nod to Eurovision history. Speaking of outfits, the night was basically a costume party on steroids, and oh boy, did they deliver! Each performer had an outfit more dazzling and outrageous than the last, and it felt like a veritable parade of the most flamboyant and unique fashion choices Europe has to offer. From the shimmering disco ball dresses to the avant-garde creations, the costumes truly encapsulated the spirit of Eurovision. The grand finale brought all the artists back on stage for a multilingual performance. It was a perfect end to a night that celebrated diversity, music, and community. Despite a gruelling 28-hour journey from Poland to Brisbane, the performers put on an electrifying show, sharing their love for Eurovision and their excitement to connect with Aussie fans. If this tour proves anything, it’s that Eurovision has the power to bring people together through music, no matter where in the world you are.

It’s a Wonderful Life – A Live Radio Play Presented by Swich Up Productions Directed by Adrian Carr   Swich Up Productions brings the heartwarming magic of ' It’s a Wonderful Life'  to Ipswich, transforming the cherished 1946 film into a nostalgic live radio play. Directed by Adrian Carr, this production presents the Christmas classic in a creative format that honours the original while offering a fresh theatrical experience. From the moment you step into the foyer, audiences are taken to a 1940s radio studio to relive the timeless tale of George Bailey and his profound impact on his community. In a meticulously designed 1940s radio studio, the cast steps into a bygone era complete with three-piece suits, elegant dresses, period-perfect hairstyles, and dazzling jewels. The vintage microphones, genuine Foley props, "On Air" sign, framed stills from the original film, a piano with aged sheet music, and a stunning Christmas tree all contribute to the authenticity of the setting. The cast fully commits to their roles, both as 1940s radio actors and as the characters within the story. They enter in character and mill around the radio station as the stage manager announces the time remaining until they go on air. The meticulous attention to detail, impeccable (interchangeable) accents, mannerisms, and interactions all exude professionalism from this cast. The production offers a dual-layered experience for its audience. On one hand, we become the live studio audience for a radio play, complete with live Foley sound effects and old-fashioned advertisements jingles sung in tight harmony by the cast. On the other hand, we are deeply connected to the emotional resonance of George Bailey’s life story as the performers step out from behind their microphones to physically embody their characters. The smooth interplay of these layers highlights the creative vision and careful execution of the team, led by director Adrian Carr.   Jesse Warren as George Bailey is the emotional anchor of the show. From his youthful aspirations to his moments of overwhelming despair, Jesse captures the complexities of a man whose sacrifices for others have defined his life. Whether he's charming Mary with the promise to lasso the moon, reprimanding his youngest child’s teacher for allowing her walk home without a coat, or grappling with frustration over Uncle Billy’s mistakes, Jesse brings an authenticity that feels deeply human. I believed him completely in every moment—particularly his overstimulation at hearing his daughter’s piano practice while burdened with financial stress. His chemistry with Elizabeth Warren, playing George’s onstage wife Mary (and his real-life wife), is palpable, especially in their intimate telephone scene—a romantic and emotionally charged moment. Elizabeth Warren is utterly enchanting as Mary Bailey, embodying the devoted wife and steadfast partner of George. From her warmth in the romantic early scenes to her calm strength in the face of the family’s struggles, Elizabeth’s performance is a beacon of grace. She conveys Mary’s unwavering support and deep love for George with genuine sincerity, reflecting their real connection. Adrian Carr pulls double duty as both the endearing guardian angel Clarence and the villainous Mr Potter. The stark contrast between these two characters, and Adrian’s ability to switch effortlessly between them,  is astounding. As Clarence, his goofy charm provides delightful relief and hope amid the more serious themes, while his depiction of greedy Mr. Potter is both menacing and loathsome. Lucas Stokes delivers a standout performance as Freddie Fillmore, the charismatic radio host, while also juggling several story roles with ease. His flair and old-school charm anchor the radio play setting, excelling in his comedic timing during the old-style advertisements. Martie Blanchett received plenty of laughs from the audience, excelling in her various roles, particularly as the youngest of George’s children—her toddler-like voice spot on. Elyse Rea also shines in her various roles, but her portrayal of Violet balances charisma and vulnerability beautifully. Justin Piper's characterisation truly felt genuine, making Uncle Billy’s quirks and struggles both endearing and heartbreaking. Simone Behrendorff, the show’s musical director, not only provides a beautiful live piano accompaniment but also adds her own humorous touch, bursting in as the flustered and anxious pianist who promptly drops her music in distress and starts crying—a relatable moment that endears her to the audience from the get go. The Foley artistry by Brendan Dieckmann and Tracey Spence deserves a standing ovation in its own right. From the sound of a sled racing over snow (achieved with a scrubbing brush) to the crackling of a fire (via twigs rubbing together) to the use of a mop in a bucket to recreate George’s plunge into icy water; these tactile elements are fascinating to watch and enhance the audience’s immersion in the narrative. The lighting design by Adrian Carr and Zephyr Burns is a quiet star of the show. The transitions between the radio studio backdrop and the scenes depicted within George’s narrative are visually achieved with subtle shifts in colour and brightness. The flickering lights, malfunctioning Christmas tree, and dimmed radio "On Air" sign during the alternate universe scenes are an especially clever touch, creating a sense of distorted reality.   The pacing of the show is excellent, keeping me engaged throughout. By the time George declares, “I wish I’d never been born,” I was deeply invested in his story. At one point, I had to remind myself to breathe because of how tense I became (despite having seen the film and knowing the ending). Act Three, where George is shown what life would have been like had he never existed, is gripping and emotional. The actors step away from their radio personas to embody the raw emotion of these scenes, delivering a deeply moving and cinematic conclusion. As George rediscovers his will to live, Jesse's acting is almost overwhelming in its emotion. My mother teared up as George’s thoughts turned to his children in those final moments, and I felt the same lump in my throat. Jesse Warren’s ability to embody George’s unwavering morality, his sacrifices, and his moments of raw despair make his performance unforgettable. I left the theatre feeling a renewed sense of gratitude for my own community and the relationships I cherish. As we embrace the spirit of the season, let’s all take a moment to be patient and kind with one another – it’s a gift that costs nothing but means everything.   Swich Up Productions has crafted a holiday treat that celebrates the profound beauty of human connection. With one weekend left to catch this gem, I cannot recommend it enough. Plus, don't miss their upcoming mainstage production of ' Jekyll and Hyde'  in March! Tickets for 'It's a Wonderful Life' available here

Alex Bannan’s ' Bodach Boys'  is an impressive debut that captures the grit and complexity of post-war London in a story brimming with tension, ambition, and heartbreak. Running until 14 December 2024, this gripping drama is a must-see for fans of character-driven narratives and powerful performances.   Set in 1936, ' Bodach Boys' immerses us in the volatile lives of a Cockney gang led by brothers Michael and Tadgh Murphy. The narrative is rich with conflict, as the scars of war collide with personal vendettas. As the gang struts into their Whitechapel pub, bringing their fresh earnings with them, the audience is grounding into the environment through the vintage decor. The cast excels at bringing their characters to life, each delivering authentic performances that transport the audience to the gritty underworld of 1930s London. The dedication to dialect is remarkable, with every actor nailing their accents, all distinct yet consistently convincing. Matthew Costin as the mobster Michael Murphy is a commanding presence, capturing the essence of a man burdened by war, grief, and the weight of leadership. He’s a magnet for attention, more storyteller than actor , drawing the audience in with every word. His interactions with the other characters are layered, particularly with Damien McIntosh’s Cas. Cas’s unpredictable nature, exacerbated by PTSD, is harrowing and engrossing; enhanced by McIntosh’s constant finger twiddling, haunted gaze and volatile outbursts. Christopher Raymond Smith delivers a chilling performance as Inspector Thompson, exuding an air of unshakable authority in his impeccable three-piece suit. His calculated demeanour and subtle menace make him a formidable force, keeping the gang—and the audience—on edge.   Tate Adams shines as Tadgh, the younger Murphy brother, whose romance with the high-society Lorelai (Crystal Dawson) threatens the gang’s unity. Tadgh’s darting eyes and tense jaw betray his inner turmoil as he grapples with family loyalty, personal ambition, and his love for Lorelai. The confrontation between Tadgh and Michael culminates in a raw, heartbreaking scene where Michael’s hardened exterior finally cracks, leaving both brothers emotionally gutted. Dawson, in the role of Lorelai, brings a youthful naivety to the gang, her nervous energy reflecting both her intrigue and growing unease with the illegality and violence.   Louella Baldwin as Emily is the heart of the play, embodying the maternal, tough barmaid with their quiet intensity, flawless Irish accent and a demeanour that radiates strength. As the moral compass of the group, this role is beautifully written and performed, and the tender Irish tune during Michael’s moment of vulnerability is a poignant highlight. Baldwin’s ability to convey disappointment, resilience, and compassion in equal measure makes Emily an anchor for the characters and audience amid the chaos. The core of ' Bodach Boys' lies in Alex Bannan’s vision as both writer and director. His script weaves a narrative filled with themes of family loyalty, personal ambition, the wounds of war, and the delicate balance of power. The dialogue is authentic and incisive, reflecting the gritty realism of the time while ensuring the characters remain profoundly human. The staged fights and drinking scenes are convincingly portrayed, heightening the tension without overshadowing the human drama.   The transitions between scenes are quite smooth, with the ticking of a clock effectively marking the passage of time. Bannan’s direction ensures the story moves at a quick pace without losing the emotional weight of its quieter moments. For future runs, how about a gentle gramophone in the background? It could add some vintage flair and help mask any unexpected audience noise. This would not only enhance realism but also serve as a contrast to the unraveling tension, grounding the drama in the ordinary while life continues amidst chaos. Despite some distracting noises from the crowd, the cast’s focus never wavered—a testament to their professionalism. The actors maintained their intensity and projection throughout, ensuring every nuance of the story was felt. I suggest snagging a seat close to the stage to catch the details : Tadgh’s clenched jaw, Cas’ restless hands, Lorelai’s fidgeting, and even the polish of Inspector Thompson’s shoes.   The emotional depth of ' Bodach Boys'  is undeniable from Michael's reflections on their late mother, to Tadgh’s heartbreaking remorse, to the climactic twist that left the audience audibly gasping, the show keeps you on edge until the final bow. With minimal use of explicit violence or language, the production achieves an impactful balance, relying on the raw performances and storytelling to drive the tension. Don’t miss your chance to see this masterful production before the season ends.   Tickets are available here

Gold Coast Little Theatre’s production of ' Honeymoon in Vegas'  bursts onto the stage with all the glitz, glamour, and zaniness of a Vegas showroom. Directed by Tony Campbell, with musical direction by Julie Whiting and choreography by Andrew King and Natalie Cassaniti, this rollicking musical comedy delivers laughs, heart, and toe-tapping tunes in equal measure.   Based on the 1992 motion picture (yes, it’s a film—I was just as surprised), ' Honeymoon in Vegas' is a love letter to cinematic romantic comedies. With a score by the brilliant Jason Robert Brown, best known for ' The Last Five Years' , ' Songs From a New World', 'Parade' , and ' 13' , the music is obviously excellent, and this talented cast brings every note to life. Even better, the 12-piece orchestra conducted by Julie Whiting is featured live on stage, making us feel like we're in a real Vegas showroom. Watching the musicians masterfully switch between instruments on the fly is awe-inspiring.   This romantic romp takes us from New York to Las Vegas to the sunny shores of Hawaii. Jack Singer (Brody Seignior), is a sweet but neurotic Brooklynite who just can't seem to propose to his ever-patient girlfriend Betsy Nolan (Ruby Hunter). Why? Because of a deathbed promise made to his overbearing mother, Bea Singer (Nicole Rozen). When Jack finally whisks Betsy to Vegas to tie the knot, a charming gambler, Tommy (Andy MacFarlane), cons Jack in a wild poker game and schemes to whisk Betsy away, claiming she’s the spitting image of his late wife. What follows is a desperate chase for love and plenty of musical hilarity!   Brody Seignior is the perfect male lead for this musical. With a divine voice reminiscent of Frank Sinatra or Jeremy Jordan, he leads the cast with a perfect balance of charm and awkwardness. His opening number, ' I Love Betsy',  sets the tone for his crooner vocal style, and his Act One closer, ' Do Something',  is an absolute showstopper, complete with a powerhouse high belt. Ruby Hunter’s Betsy is endearing and empathetic, her frustration with Jack’s hesitance so palpable that you just want to offer her a hug. Her voice soars in the heartfelt ' Anywhere But Here' . Andy MacFarlane makes Tommy irresistibly suave, with standout moments in the hilariously bleak ' Out of the Sun',  a tongue-in-cheek ode to his wife’s unfortunate tanning habits, and his touching ballad ' You Made the Wait Worthwhile'  shows a softer side; although whispers through the microphones from backstage slightly distracted from its impact. Nicole Rozen as Bea, Jack’s mother’s apparition, brings melodramatic flair in her number, ' Never Get Married' .   The ensemble is a treasure trove of high-energy performers who keep the laughs rolling from start to finish. Lucy Martin, Samantha Sherrin, George Pulley, and Anthony Vitetzakis are standout performers, bringing comedic brilliance and character depth to every moment. Whether they’re Elvis impersonators or part of the ' Garden of Disappointed Mothers'  scene, their energy is riveting.   Tianna Paget as Mahi, the eccentric Hawaiian guide, delivers the hilariously random ' Friki-Friki' , and Anthony Vitetzakis leads ' Every Day is Happy in Hawaii', a song that nails Jack's comedic meltdown admidst the exaggerated island bliss. The showgirls number, led by Greyson Vaughn as Buddy Rocky, dazzle in ' When You Say Vegas' , complete with big hair, cheesy grins, and sparkling costumes.   The standout numbers are almost too many to count, but ' Forever Starts Tonight'  is a particular favourite for me, showcasing gorgeous harmonies between Seignior and MacFarlane. One of the most memorable scenes is the absurd ' Airport Song ', where Jack's efforts to return to Betsy are hindered by the airport customer service team's well-meaning assistance. The arrival of Elvis impersonators is a spectacular finale, complete with iconic jumpsuits, sideburns, and killer choreography. By the end, the stage is swarming with Elvises (Elvii?) during ' Higher Love'  and 'Elvii in Flight'  and 'Honeymoon in Vegas'.   From the shimmering lights of Vegas to the tropical hues of Hawaii, the production design by Brett Roberts (lighting, set, and stage management) and Millie Talbot (costumes) have sprinkled their magic all over the place — from Hawaiian florals to shimmering showgirl outfits. Tony Campbell’s direction is vibrant and inventive, making excellent use of a glitzy, multi-level set that feels straight out of Vegas, along with smaller, easily movable set pieces that transport us from one location to another. He ensures a brisk pace and plenty of visual humour, while Julie Whiting brings out the best in both the performers and the orchestra.   This cast and crew bring endless energy, laughter, and heart, and it’s clear they’re having as much fun on stage as the audience is watching them. 'Honeymoon in Vegas'  is an underrated gem of a show, and Gold Coast Little Theatre has done it proud. The combination of a stellar cast, incredible live orchestra, and hilarious story creates an unforgettable night of musical theatre. If you love Guys and Dolls , Elvis Presley, or just a good dose of ridiculous fun, this show is your ticket to paradise.   Tickets are available here.

Have you ever, ever felt like this?   If you're an Aussie who remembers the days of dial-up internet and non-streamable television, you probably know how to finish that lyric. For years, ' Round The Twist ' has been the wacky, supernatural gem nestled in Australian hearts. Now, the iconic series is making a comeback as a stage musical at QPAC by Queensland Theatre, and it's a hilariously wild ride! Directed by Simon Phillips with a book, music, and lyrics by Paul Hodge, this world-premiere production breathes new life into the beloved tales of Paul Jennings. The brilliance of Round the Twist: The Musical  lies in its ability to bridge gaps between generations. For adults who grew up watching the beloved TV series, the musical is a trip down memory lane, filled with beloved characters, iconic moments, and plenty of laughs. Meanwhile, the vibrant, fast-paced, and utterly bizarre storyline captures the imaginations of younger audiences who may be experiencing the Twist family’s antics for the first time. Matt Hetherington as Tony Twist nails the dorky single-dad vibe, awkwardly wooing Fay James (Liz Buchanan) while trying to keep his mischievous kids in check. Hanlon Innocent shines as Pete Twist, delivering powerhouse vocals and humour. Charly Oakley embodies Linda Twist with spunk and ingenuity, while Luka Sero takes on the role of 10-year-old Bronson (a role shared with Edison Ai and Sebastian Sero)  with hilarious results—Bronson’s one-liners are comedic gold, particularly “I’ll just give up food forever; then I’ll never need to poo.” Nick Van Lits is perfectly obnoxious as Gribble Jr., leading the rebellious ' New Kid'  with swagger and featuring an awesome rap by Carla Beard as Tiger. Meanwhile, David James and Tarita Botsman serve as the villainous Mr and Mrs Gribble, complete with an evil anthem that showcases Botsman's famous operatic talent. Taylah Johns, as Fiona, has a divine voice that adds depth to the show’s quieter moments. The cast is beautifully in sync, with Pete and Tony Twist in particular being so goofy and alike that they genuinely seem related. The songs by Paul Hodge are a huge highlight, balancing hilarity and heart. From the very first number, 'Fresh Air,'  you’re hooked. This opener sets the tone with sky-high energy, pitch-perfect performances, and a sprinkle of fart jokes—what more could you want? The distinct Aussie accents remind you that this is a story rooted in our backyard, and the humour is unmistakably ours too. Numbers vary from the haunting ' The Fourth of September'  sung by Christen O’Leary’s Nell to the absurdly funny ' Good Pair ,' which juxtaposes Bronson’s smelly feet with a romantic duet among the three budding romances of Andrew and Linda, Tony and Fay, and Pete and Fiona. ' Someone Else’s Shoes' is ano ther standout, a playful family number as they play dress-ups with circus costumes found in the lighthouse. While wearing the clothes, the Twists begin to channel the spirits of the circus and the whimsical moment transforms into an emotional dive into the shipwreck mystery. And 'Up the Pong' is a stinky delight with a tune that captures the chaos of Bronson’s smelly feet. But the crown jewel of Act One is 'Without My Pants.' This hilarious and ridiculously catchy number sees Pete scrambling to give a history report while trying not to repeat his cursed phrase. Hanlon’s belting here is simply phenomenal and elevates the comedic chaos to new heights. Act Two ramps up the madness with ' Lucky Lips' , a rock anthem about an enchanted lipstick that inspires uncontrollable kissing. The choreography here—and throughout the show—is a blast, with Andrew Hallsworth’s playful, inventive moves drawing consistent cheers. Nell’s emotional ballad ' The Lighthouse'  pieces together the show’s mysteries, while the recurring theme of the TV show’s iconic song ties it all together beautifully. The show takes every opportunity to deliver moments of theatrical magic. The lighthouse, which serves as the central set piece, opens up dramatically to reveal the interior, drawing audible gasps from the audience. Designer Renée Mulder’s sets and Craig Wilkinson’s projections feel like stepping into a pop-up storybook. From vibrant scene transitions to vivid animations, the visual storytelling is nothing short of spectacular. The special effects elevate the show to a new level, featuring illusions like a levitating clarinet, words materialising on a painting, and a collapsing dunny door, bringing a sense of childlike wonder to the production. Round the Twist  has always been a show that celebrates the unusual, weaving supernatural antics with the universal challenges of growing up. This musical adaptation remains true to this essence. Underneath the laughs, there’s a surprising emotional depth. The story explores family dynamics with honesty and sensitivity, touching on themes like fear of change, the challenges of fitting in, and navigating new relationships. “We’re all scared, we try to hide it, but even adults get scared—don’t fight it,” sings the cast in one poignant moment, reminding us that vulnerability is universal. By the time the finale hits, with its jaw-dropping set reveal and a rousing group singalong, you’ll be itching to go home and re-watch the series. This show is unashamedly Australian, unrelentingly fun, and brilliantly crafted to appeal to all ages. Whether you grew up with the original series or are discovering it for the first time, Round The Twist: The Musical  will have you laughing, gasping, and maybe even tearing up. With its affordable rush tickets on TodayTix and its undeniable charm, this is a must-see production. Don’t miss your chance to get swept up in the twists of this lighthouse adventure. Strange things are definitely happening—Grab a ticket before it’s gone! Tickets available here

Strictly Ballroom , presented by Beenleigh Theatre Group as their grand finale for 2024, is an absolute whirlwind of colour, heart, and Aussie charm to bring Baz Luhrmann's original film to the stage. Directed by Daniel Dosek, this iconic Australian musical is packed with everything we love: sequins, romance, cheeky humour, and, of course, the power of dancing to express what words can't. The set, repurposed from previous productions this year, immediately grabs your attention with its dramatic, red-draped design - immersing us in the glitzy world of ballroom dancing - sequins, spray tans, and the stressful quest for that shiny trophy. Set in the early 1980s, the show follows Scott Hastings, a young man from a family involved in the world of competitive ballroom dance who becomes disqualified after doing moves that are not strictly ballroom style. Fran, portrayed by Jade Plaistow, is a young woman from a Spanish migrant family with a passion for dance that comes from the heart, not the rulebook. James Bird as Scott Hastings is easy on the eyes and ears—he's the perfect embodiment of the cocky but vulnerable young dancer. His solo dance numbers give off serious Footloose  vibes (or Troy Bolton in HSM3 ...), channelling the youthful passion of a character who wants to break free from the norm. On the flip side, Jade Plaistow’s Fran is a cute yet fierce presence, and the chemistry between them is heartwarming and believable. Their electric dynamic stands out in their sultry duet of "Perhaps, Perhaps, Perhaps", perfectly capturing the tension between them. Their romantic duet, " Time After Time, " is a standout moment, beautifully sung and danced amidst the fog under the glow of a Coca-Cola neon billboard and twinkling lights. It’s one of those moments that feels genuinely magical, showcasing both their vocal and physical talents in a beautiful way. Although my personal favourite moment is the enchanting "You Can't Have Everything" , where Fran finally asserts herself. Their characters’ journey is genuinely heartwarming, and you can’t help but root for them the whole way through. Supporting performances round out this production with heart and hilarity. Michael Ware delivers a wonderfully deadpan Doug Hastings, the typical “boring dad,” while Bradley Chapman channels every dance mom cliché with gusto as Shirley Hastings. Ruby Thompson's performance as Tina Sparkle is dazzling – from her glittering pineapple dress to the demanding choreography, Thompson’s commitment to the role of the reigning diva of the ballroom embodies all the drama and sass of the original character. Marina Pennisi’s portrayal of Vanessa is comedy gold, channelling the energy of sidekick Gretchen from Mean Girls . Brent Jeffrey is another gem, bringing laughs as Ken Railings, even though his stage time is brief. Every second he’s on stage is packed with physical comedy, proving that sometimes it’s the small roles that steal the show. Similarly, the kids in the cast, including Beau Bruback as Luke and Amelie Iffland as Kylie, bring adorable sass. Their "Let’s Dance"  number is as cute as it gets. Speaking of stage presence, the ensemble delivers with high energy from start to finish. While the opening numbers, like “Strictly Ballroom” and “ All Out War,” had their sound issues due to some troublesome microphones, the ensemble’s commitment to keeping the energy up was admirable. Special mentions go to the standout dancers of the show, Meggie Ryder and Ruby Thompson, who executed the more complex routines with flair and precision. The choreography by Hayley Iffland and Heather Barraclough is impressive in its ambition and it's quite decent in its execution, especially considering the demands of such an energetic dance-heavy show. The "Magnifico" number, where the Spanish characters teach Scott the true meaning of rhythm in dance, is a vibrant celebration of passion and culture. Samantha O'Hare, who plays Fran’s abuela, has a voice that truly soars here, and her vocal power is a joy to hear in the stunning duet " Life is a Leap of Faith." The staging is eye-catching, thanks to the lighting design that bathes the set in shades of red, purple, and blue, capturing the heat on that dance floor. Costumes reflect the glamorous world of ballroom dancing while adding that signature Strictly Ballroom flair, like the feathered costumes in the Act 2 opener, “Beautiful When You Dance." The 7-piece band – led by musical director Peter Laverncic – maintains a lively upbeat atmosphere, and vocal director Nicholas Hargreaves deserves a special mention for guiding the cast to sing with the Australian accent and maintain strong vocal performances while executing intense dance routines. It's no easy task. From the exaggerated Australian accents to the flamboyant wigs to the over-the-top personalities of its characters, Strictly Ballroom doesn’t take itself too seriously. Whether it’s the dramatic character of Barry Fife, brought to life by Adam Iffland, or the scene-stealing Liz Holt (played by Brooke Edwards), the comedic moments are plentiful and laugh-out-loud funny. For fans of Dirty Dancing , Footloose, Grease, or even Priscilla Queen of the Desert ... Strictly Ballroom at Beenleigh Theatre Group is a feel-good, witty, and visually beautiful performance that celebrates individuality, passion, and the freedom to live life on your own terms. If you’re in the mood for a night of humour, heart, and some epic dance moves, make sure you don’t miss this energetic finale to Beenleigh Theatre Group’s 2024 season. Tickets available here

Title: The Lovely Bones Presented By: Beenleigh Theatre Group Genre: Drama/Thriller Play Synopsis: Adapted from Alice Sebold’s bestselling novel, The Lovely Bones tells the poignant and haunting story of Susie Salmon, a 14-year-old girl observing her family and community from the "In-Between" after her murder. This gripping tale explores grief, resilience, and love that transcends even the darkest moments, blending drama, emotion, and unexpected hope. Audition Information: Audition Date (In Person): Sunday, 15 December 2024 Audition Times: Between 9:00 AM and 3:00 PM Audition Location: Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Self-Tape Submissions Due: 3:00 PM, Sunday, 15 December 2024 Callback Dates: To be scheduled on subsequent weeknights after 15 December Audition Requirements: Prepare a contemporary dramatic monologue (1–2 minutes) with a US East Coast accent. Grandma Lynn should prepare a contemporary comic monologue. Available Roles: (Some doubling may occur depending on casting.) Susie Salmon (14, F): The murdered protagonist. A deeply emotional and vulnerable role. Mr Harvey (Middle-aged, M): A disturbing yet seemingly ordinary serial killer. Ruth Connors (14–late teens, F): Introspective classmate with a supernatural connection. Abigail Salmon (35–45, F): Susie’s grieving mother seeking self-discovery. Jack Salmon (35–45, M): Susie’s father, driven by his quest for truth. Lindsey Salmon (13–20, F): Susie’s resilient younger sister. Grandma Lynn (55+, F): A mix of levity and wisdom, providing stability to the family. Ray Singh (14–late teens, M, South Asian): Susie’s crush. Ruana Singh (35–45, F, South Asian): Ray’s perceptive mother. Det. Len Fenerman (30+, M/F): The detective on Susie’s case. Other Characters: Buckley Salmon, Samuel Heckler, Heavenly Girls, and ensemble roles including cops and victims. Some roles include intimacy and pre-recorded audio scenes. These will be carefully managed with an intimacy coordinator. Rehearsal Schedule: Start Date: Mid-January 2025 Days/Times: Tuesdays & Thursdays: 7:00 PM – 10:00 PM Sundays: 12:00 PM – 4:00 PM Performance Details: Opening Night: Friday, 28 March 2025 Closing Night: Saturday, 12 April 2025 Show Times: Friday and Saturday evenings (7:30 PM) & Saturday matinees (2:00 PM) Additional Information: Some actors will be required to film content for cinematic elements in December/January. Due to the mature themes, roles for children will be played by young adults, except for specific heavenly roles. Auditionees must become a BTG member prior to rehearsals ($10 fee). How to Apply: Video Auditions: Submit via email to info@beenleightheatregroup.com by 3:00 PM, 15 December 2024. In-Person Auditions: Book your slot via TryBooking. For further information, download the full audition pack: The Lovely Bones Audition Pack (PDF)

Title: Don't Dress for Dinner Presented By: Coolum Theatre Players Genre: Comedy Synopsis: Bernard is planning a romantic weekend with his mistress at his charming French farmhouse while his wife, Jacqueline, is away. He has arranged for a cordon bleu cook to prepare gourmet delights and invited his best friend, Robert, to provide an alibi. It's a foolproof plan!However, Robert turns up not knowing why he’s there and, awkwardly, he’s Jacqueline’s secret lover. Jacqueline decides to stay, forcing the cook to pretend to be the mistress while the actual mistress reveals she can’t cook. Add in the cook’s protective husband, and chaos ensues with alibis swapped, improvisation galore, and confusion escalating at breakneck speed. Audition Date: Monday, 9th December 2024 Wednesday, 11th December 2024 Audition Time: 7:00 PM Audition Location and Address: Coolum Civic CentrePark Street, Coolum Beach Audition Requirements: No preparation is required. Just turn up. Accent work (French, English posh, English working class) may be explored. Cold reads from sections of the script will be provided. Improvisation exercises may be included. Available Roles: Bernard: Male, late 30s to mid-50s. Handsome businessman, flirtatious, dapper, and self-assured. Jacqueline: Female, late 30s to mid-50s. Bernard’s wife, assertive, romantic, intelligent, and modern. Robert: Male, late 30s to mid-50s. Handsome, reserved, seemingly nice but a secret scoundrel. Suzette: Female, late 20s to mid-40s. The cook, funny, friendly, working-class, with hidden sophistication. Suzanne: Female, late 20s to late 30s. Bernard’s mistress, chic and stylish but easily flustered. George: Male, mid-50s+. Suzette’s husband, strong, protective, intimidating, and no-nonsense. Performance Dates: Friday, 28th March 2025 at 7:30 PM Saturday, 29th March 2025 at 7:30 PM Sunday, 30th March 2025 at 2:00 PM Friday, 4th April 2025 at 7:30 PM Saturday, 5th April 2025 at 7:30 PM Sunday, 6th April 2025 at 2:00 PM Performance Location: Coolum Civic CentrePark Street, Coolum Beach Production Website: Auditions Information Other information: For further details, contact the director, Nick Smith, via email at nickinbuenos@gmail.com

Agatha Christie's ' Murder on the Nile ', directed by Sharon White and performed at Nash Theatre, is a gripping and unexpectedly funny dive into love, betrayal, and murder. Set aboard an opulent riverboat, the production sweeps you into a world of class, chaos, and conspiracy. It's a theatrical voyage that'll have you gripping the edge of your seat and laughing at the absurdity along the way. The set, designed by Sharon White and constructed by Phil Carney, is a standout element, recreating the saloon of a luxury Nile riverboat with remarkable detail. From the elegant couch and wicker chairs to the decorative tassel pillows and beautifully painted backdrops by Philippa Dwyer and Helen Barrett, every piece invites you into the lavish yet claustrophobic setting. It’s the perfect stage for this deadly drama. The cast brings their A-game, nailing accents (British, French, and German) and immersing the audience in the riverboat journey. Samantha Herde plays Kay Mostyn with poise and grace, kind of like Rose from Titanic with her classy accent, aristocratic air, and nerves that could snap at any moment. Playing her beleaguered hubby Simon, Matthew Hobbs is a man trapped in a web of his own making. You can really feel his frustration with Philippa Dwyer as Jacqueline de Saverac—his dangerously unhinged ex-fiancée—as she begins coming apart at the seams. Hobbs perfectly captures Simon’s stress and panic as his carefully managed world starts falling apart. Philippa Dwyer’s performance as Jacqueline de Saverac is magnetic. She plays the jilted lover with a mix of heartbreak and threat that's just riveting; from her cheeky grin when she first struts on stage to the drunken tirade that leaves everyone holding their breath. You just can't help but be drawn in by her wild-eyed determination and calculated actions. The supporting characters add humour and intrigue to the drama. Linda Morgan as Miss ffoliot-ffoulkes is wonderfully self-absorbed, delivering melodramatic moments that land perfectly. Jonathan Knox as William Smith is the comic relief we all crave. His comedic timing is spot-on, and his awkward attempts to woo Madelyn Scott as sweet and demure Christina Grant are a fun break from the murder mystery. John Mann as Canon Pennyfather is a natural fit. His charmingly straightforward demeanour and expressive way of speaking perfectly captures the character who unwittingly becomes the confidant and detective. Cheney Hossack, portraying Louise the maid, brings an additional layer of intrigue with her authentic French accent and an air of knowing something we don't. Meanwhile, Thomas Bean as the steward maintains a quiet but notable presence, always lurking, observing and subtly grabbing attention when it counts. Phil Carney’s lighting and sound design are minimal but effective, keeping the focus on the cast's performances and the script. The sound effects—such as the startling gunshots and atmospheric riverboat sounds—add subtle layers of authenticity to the production. Director Sharon White has done a fantastic job balancing the suspense and humour. The pacing is excellent, ensuring that each scene lands its emotional or dramatic impact. As the play unravels, it’s a joy to piece together the clues alongside the characters. The layers of drama, gossip, and romance woven throughout the investigation keep you guessing until the final, breathtaking revelation. As someone who had never read the book or seen the film adaptations, the experience of playing detective in real time added a personal thrill to the evening. With its polished performances, stunning set, and intriguing storyline, Nash Theatre’s ' Murder on the Nile' is an enthralling journey into the mind of Agatha Christie. Fans of classic murder mysteries, suspenseful drama, or even sharp comedic moments will find much to love here. Step aboard this spellbinding production before it sails away! Now playing until 7th December 2024 Tickets available here