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On the 9th of August, Ghostlight Theatre presented their new cabaret show, Broadway Murderers , at the Ron Hurley Theatre. The event paid homage to some of Broadway's more sinister characters, with proceeds aimed at supporting their next mainstage production. But I’m already crossing my fingers that this theme becomes a regular cabaret fixture at Ghostlight. Who knew a night with Broadway’s baddies could be so much fun? The audience was full of theatre buffs who could not resist lip-syncing along to each number. The cast were a veritable murderers' row of talent: Rhea Basha, Yasmin Elahi, Adam Goodall, Patrick Oxley, Benjamin Oxley, and Maegan Weir. Each of these Brisbane performers brought something unique to the table, showing off an impressive range of vocal abilities. I have witnessed all of them perform in the past, yet this time they each stopped into the spotlight in a brand new way. Backing them were musicians from Viva La Musica , featuring a piano, percussion, cello, and flute. These musicians were the unsung heroes of the night, bringing richness, colour, and a fresh sound to every number. Despite not having a Sitzprobe until the day of the show, their smooth performance made it hard to believe the tight turnaround. The night started with a bang—or should I say, a ballad —as the whole cast gathered for the 'Ballad of Sweeney Todd.' It was a dark and fitting opener, setting the mood perfectly. Reagan Warner, our fabulous host for the evening, slinked onto the stage as Sweeney himself, exuding menace with his sonorous voice and mysterious coat. Patrick Oxley then took over the role of Sweeney, with Maegan Weir as his equally twisted partner in crime, Mrs. Lovett. Their duet was a delightful dance of eerie and playful, with Patrick’s gleaming blade and Maegan’s sly grin. Rhea Basha transformed into Ursula from The Little Mermaid for 'Poor Unfortunate Souls'. Rhea is the kind of performer who could sing the phone book and make it mesmerising, but as Ursula, she was electrifying. Her vocals were impeccable, and the juxtaposition between her real-life sweetness and the character’s villainy was simply brilliant to witness. The evening took a turn with a rock version of 'Phantom of the Opera.' Yasmin Elahi and Patrick Oxley delivered a lively and dynamic rendition that revitalised the classic duet. Patrick’s demeanour made him an excellent Phantom, while Yasmin’s melodious voice twinkled with emotion, even if I was left scratching my head about Christine’s supposed murderous tendencies during 'Wishing You Were Somehow Here Again.' Patrick then swooped back in with 'Music of the Night'. His impressive control and vocal range were on full display, captivating the audience with every note. Rhea and Ben rocked the stage with their sassy rendition of 'The World Will Remember Us' from Bonnie & Clyde , followed by Adam Goodall unleashing his inner villain with 'Raise a Little Hell'. His gritty and raspy performance as he stared down the audience created a suspenseful vibe. It's a tough song, but Adam crushed it.   Maegan Weir brought the house down with 'Bring on the Men' from Jekyll and Hyde . This was her moment to shine, and she did not disappoint, balancing powerhouse vocals with sultry softness. Patrick followed up with a beautiful rendition of 'This is the Moment', a personal favourite of mine, and he did it complete justice.   The night’s energy ramped up with a dip into Heathers territory. 'Seventeen' was a treat, with Rhea and Adam serving up harmonies that hit all the right spots. Adam looked every bit the part of JD, and Ben’s turn in 'Freeze Your Brain' had me convinced that he could play any one of these villains with ease. Ben's vocals always sound so effortless, and his acting was spot-on.   Rhea surprised everyone with a gender-bent rendition of 'Hellfire' from Hunchback of Notre Dame . Donning a hood and cloak, she had everyone spellbound, drawing them into the darkness of the song. Then, the cabaret took another unexpected turn with 'Playing His Game' from Death Note the Musical . Adam and Ben gave it their all, despite the challenge of learning so many lyrics in a short time. It’s not a well-known number, but it was a great addition that added some zing to the show! Maegan showcased her versatility with 'Somewhere That’s Green' from Little Shop of Horrors . Her talent for transforming into different characters was more pronounced than anyone else in the cast. Each role felt distinct, not just in how she altered her vocal delivery, but also in the subtle nuances of her body language and expressions. She embodied Audrey’s vulnerability just as convincingly as she did the sultry power of Lucy. While the others certainly brought their A-game, Maegan’s adaptability and commitment to each character brought a fully-realised persona to every song she performed. The duo of Rhea and Ben delivered a sweet rendition of 'Suddenly Seymour', a crowd-pleaser that may be a tad overdone—though they still managed to bring a fresh warmth to it.   The night’s penultimate number was 'Unworthy of Your Love' from Assassins , a hauntingly beautiful duet between Yasmin and Adam that added a final note of darkness before the grand finale. And what a finale it was! The cast united for 'Cabin in the Woods' from Evil Dead the Musical . It was an surprisingly upbeat, chaotic, and wonderful way to end the night filled with some of Broadway’s most notorious characters.   If I had to nitpick, my one tiny letdown was that Reagan Warner, who was our wonderful host, didn’t have a solo number of his own. With such a commanding presence, it felt like a missed opportunity. But overall, Broadway Murderers was a killer night out—pun fully intended—and I am eager to see what Ghostlight Theatre has in store for their next production.

The Anywhere Festival is known for taking theatre out of traditional settings and placing it in unexpected locations. Recently, I had the pleasure of attending 'Hysterical' at the Paint Factory in Yeronga; an entirely improvised performance by the Oh Artemis! Theatre Collective . This show delivered a delightful blend of humour and heartfelt moments that had the audience laughing one minute and wiping away tears the next. The team transformed a large, echoing space into an intimate living space, complete with fairy lights that guided us to our seats. This inviting setup was more like gathering at a friend’s house than attending a traditional theatre performance—if your friend just happened to have an enormous warehouse at their disposal. Before the show started, we were invited to paint on blank cans with words that have been used to label us in our life. Mine? ‘Teacher’s pet.’ Others painted labels like ‘dramatic,’ ‘just a mum,’ ‘princess,’ 'weird,' and ‘snob.’ These cans then became part of the set, a literal reminder of the labels we all carry, whether they’re accurate or not. This clever touch blurred the lines between audience and performer, making us all feel a bit more invested in what was to come.   The beauty of 'Hysterical' lies in the unpredictability of improvisation. Guided by the talented Noelle Greenwood, the cast—Kelsey Hamill, Liz Talbot, and Chris Milne—brought to life in real-time scenes inspired by anonymous journal entries. There is a special feeling in realising that what you have seen is unique, a work of art created at that exact moment, never to be duplicated. This is the essence of improvisation—it's a shared experience between the performers and the audience that lives only in the memories of those present. The audience randomly selected three journals for the actors to use to inspire a 15-minute improvised scene. The structure was simple yet effective: the journal entry was read aloud while 'labels' for the character were established through interjections from the other cast members, and then the scene unfolded with each actor taking turns stepping in, transitioning between different characters and time periods as the story progressed.   Liz Talbot kicked off the first scene with the tale of a high-schooler juggling teenage angst and future career dreams of becoming a ‘medical marine biologist lawyer’. Who hasn’t felt the pressure to be everything all at once? The scene tracked her journey from ambitious schoolgirl to disillusioned 20-something living at home, and finally to a content 30-something running a marine wildlife sanctuary. Liz handled the progression from youthful idealism to adult reality with a deft touch. The second scene shifted focus to a couple planning a trip to Europe while dealing with conservative family expectations. Chris Milne and Kelsey Hamill’s quick-witted banter had the audience laughing out loud, while Liz Talbot’s turn as the conservative grandmother was a hilarious display. Kelsey's portrayal of a character trying to navigate societal pressures while staying true to her desires was particularly engaging. The ease with which she played off the others' lines created a dynamic that was both funny and oddly relatable. The final journal entry, dealing with a cervical cancer diagnosis, brought a sobering shift in tone. The performers handled this delicate subject with sensitivity, delivering a scene that was both touching and saddening. One particularly memorable moment involved Noelle's character discussing her infertility with her husband, played by Chris. A leap forward into the future revealed Noelle's character finding solace in her role as a fun auntie, juxtaposed with the guilt of her husband's sacrifice and apparent acceptance that he will never be a father. Adding to the atmosphere of this performance was a pianist improvising background music, with lighting that subtly shifted to match the mood of each scene. The epilogue, where each character returned for a ‘where are they now?’ moment, provided a satisfying conclusion to the evening, allowing the audience a glimpse into the future of these characters.   Improvisation takes A LOT of creativity and courage. For those who step into the scene first, it’s a daunting task. They have to build the foundation of the scene from nothing, creating a character and a narrative in real-time. It’s a mental juggling act, trying to process what the other actor is saying while thinking about how to respond and crafting a coherent story—all without the safety net of a script. The later actors who join the scene have a slight advantage—they can observe the setup, think about how they want to contribute, and plan their entrance. But this doesn’t diminish the challenge: the pressure to keep the narrative flowing and add something meaningful. As a writer who often struggles to articulate my thoughts even with time and reflection, I’m in awe of how these performers are able to create such clever and witty dialogue on the spot.   I have to wonder how much inspiration is taken from the actors' real lives. There’s an authenticity in their performances that suggests a deep well of personal experience. Whether it’s the awkwardness of family dynamics, the uncertainty of young adulthood, or the bittersweet acceptance of life’s challenges, the actors infused their characters with a sense of realism that made the scenes resonate on a personal level.   So far, 'Hysterical'  has only had two performances, with each show unique to the audience that experiences it. If you have the chance to catch 'Hysterical' in the future, don't miss out—you're guaranteed a fresh, one-of-a-kind experience that’ll have you laughing one minute and reflecting on life’s big questions the next.

Title:   Broadway Reversed Presented By:  Heartwarming Productions Genre:  Musical Revue Synopsis: We're thrilled to announce open auditions for Broadway Reversed , a musical revue featuring iconic songs from beloved shows such as Hamilton , Legally Blonde , Phantom of the Opera , and more. This unique performance will flip the script on some of Broadway's most famous tunes, offering a fresh and exciting take on the classics. Audition Dates:  Sunday, 22nd September 2024 & Sunday, 29th September 2024 Performance Date:  Saturday, 9th November 2024 Matinee:  2:00 PM Evening Show:  7:00 PM Performance Location:  Backdock Arts, 103 Brunswick St, Fortitude Valley Audition Requirements: No dance experience is required for this show, but we're looking for talented singers and performers who can bring energy and creativity to the stage. To receive all the audition information, please email us at heartwarmingproductions@gmail.com .

Title:  Auditions for Almost, Maine Presented By:  Javeenbah Theatre Genre:  Romantic Comedy/Drama Synopsis: On a cold, clear winter night under the ethereal northern lights, the residents of Almost, Maine  explore the complexities of love in unexpected and often humorous ways. Hearts are broken and mended, knees are bruised and healed, in this enchanting midwinter night's dream that offers a magical and whimsical exploration of love. Audition Date:  Sunday, 22nd September 2024 Audition Time:  10:00 AM Audition Location and Address:  Javeenbah Theatre, Corner Ferry and Stevens Streets, Nerang Audition Requirements: Familiarity with the script is expected, but no memorisation is required. The audition panel will include the production’s creative team and representatives from Javeenbah Theatre. Audition Pack:   Download Here Script:   Read the Script Register:   Sign Up for Auditions Available Roles: The creative team seeks a diverse cast of 19 performers to portray the residents of Almost, Maine . Actors of all ages, genders, and ethnicities are encouraged to audition. The character breakdowns are by scene, as follows: Prologue/Interlogue/Epilogue:  Pete and Ginette, who have been dating for a little while. Her Heart:  East, a handy person, and Glory, a hiker. Sad and Glad:  Jimmy, a heating and cooling tradesperson; Sandrine, their ex, and a salty Waitress. This Hurts:  Marvalyn, someone very good at protecting themselves, and Steve, an open kind person whose brother protects them. Getting It Back:  Gayle and Lendall, a long-term couple. They Fell:  Randy and Chad, or Deena and Shelly, two ‘County people’. Where It Went:  Phil, a hardworking person, and Marci, another hardworking person. Story of Hope:  Hope, who has travelled the world, and a person who has not. Seeing the Thing:  Rhonda, a tough one, and Dave, a not-so-tough one who loves them. Rehearsal Details: Sundays - 27th October, 3rd November, 10th November, and 17th November. Performance Dates: Saturday, 23rd November 2024:  7:30 PM Sunday, 24th November 2024:  2:00 PM Friday, 29th November 2024:  7:30 PM Saturday, 30th November 2024:  7:30 PM Performance Location:  Javeenbah Theatre, Corner Ferry and Stevens Streets, Nerang Production Website:   Javeenbah Theatre Auditions Creative Team: Co-Directors: Jake Goodall and Kaela Gray Associate Directors: Laura Starre, Jocelyn Moore-Carter, CC Dargusch Stage Manager:  Tex Houston

Title:  Agatha Christie's Murder on the Nile Presented By:  Nash Theatre Genre:  Mystery/Drama Synopsis: Kay Ridgeway has always lived a charmed life. With her stunning beauty, immense wealth, and a new husband, she sets off on a honeymoon cruise down the Nile. However, what begins as a picturesque journey soon turns deadly when a brutal murder shatters the tranquillity of their voyage. Audition Date:  Sunday, 25th August 2024 Audition Time:  11:00 AM Audition Location and Address:  The Play Shed, 4 Amity Street, New Farm, QLD Audition Requirements:  No prepared piece required. Cold read from the script. Contact Information: Director:  Sharon White Email:   sharon_white_@hotmail.com Phone:  0400 964 184 Website: Link Performance Dates:  15th November - 7th December 2024 Performance Location and Address:  The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm, QLD Available Roles: Open auditions are held for all roles. We welcome both experienced performers and newcomers. Kay Mostyn   (Mid to Late   30’s)  is a beautiful, wealthy, and entitled woman with a manner of one born to command. She is married to Simon, who was engaged to her best friend Jacqueline de Severac. Simon Mostyn (Mid to Late 30’s)  Kay’s husband and a charming Englishman with a secretive side. While protective of Kay, his true motives may come into question as the plot unfolds. Notably, he was previously engaged to Jacqueline. Jacqueline de Severac (Mid to Late 30’s)  While engaged to Simon she asked her friend Kay to help him find a job, but their plans took an unexpected turn when Simon and Kay fell in love. Feeling betrayed, Jackie maintains a facade of cool composure, yet beneath this lies a determination and passion as she relentlessly pursues the newlyweds on their honeymoon. Canon Pennefather (50’s to 60’s)  is an imposing clergyman, is Kay’s guardian and was her father’s best friend. Throughout the play, he takes on the role of the detective, listening, observing, and offering advice, often unsolicited, to everyone onboard as he investigates the murder and uncovers the truth. Helen FFoliot-Ffoulkes (60’s) She is narcissistic, wealthy, and snobbish who exudes an air of entitlement. She treats her great-niece, Christina, like a servant and consistently makes every situation about herself. Christina Grant (30’s) Miss FFoliot-FFoulkes’s great-niece and companion, is a sweet and sensible young woman with endless patience. Despite her demanding aunt’s expectations of utter obedience, Christina maintains an even-tempered disposition. William Smith   (Mid to Late 30’s) a charismatic socialist with a disdain for the upper class. His unkempt appearance belies his refined voice, hinting at his hidden background. He is smitten with Christina and becomes fiercely protective of her. Louise   (20’s)  the French maid. She has keen perception and sees more than meets the eye, often using her knowledge to her advantage. Dr. Bessner (Late 30’s)  He is a mysterious doctor of unknown origin, claiming to hail from a small country in Europe and speaking some German. He specialises in psychology and mental disorders. As the story unfolds, it is revealed that he harbours a deep-seated grudge against Kay’s father. The Steward (30 + : requires an actor of colour)  a Nubian by origin, serves as the ship’s greeter and primary server of passengers. Always wearing a smile, he exudes amiability and charm, though he only understands about a quarter of what the passengers say to him, he navigates his role with patience and diplomacy, all while maintaining his friendly demeanour. McNaught   (50+   : Small Role)  serves as the ship’s captain. For further information or to register your interest, please contact the director.

At the final performance of Swich Up Productions' 'The Drowsy Chaperone' , a full house enjoyed this lively musical production. This five-time Tony Award-winning musical playfully parodies 1920s musical comedies, featuring a "show-within-a-show" script, colourful characters, and immersive staging. The story follows Janet Van De Graaff, a glamorous showgirl who plans on leaving her dazzling career behind to marry oil tycoon Robert Martin. However, chaos erupts as an array of colourful characters—like the bumbling Latin lover Aldolpho, two gangsters disguised as pastry chefs, the Broadway producer Feldzieg (from Feldzieg's Follies—clever, right?), and Janet’s perpetually tipsy (aka 'drowsy') chaperone—threatens to derail the wedding. With mistaken identities, energetic dance numbers, and a bounty of laughs, the plot serves as a loving tribute to the classic tropes of early American musicals, all wrapped in a layer of self-awareness. All of this unfolds under the watchful eye of our main character—The Man in the Chair—a secluded and devoted musical theatre fan. As he plays the vinyl record of this fictional musical from 1928, he imagines what it might have looked like on stage. The cast, in perfect synchrony, always 'pause' in tableaux whenever he wants to interject his thoughts. This clever interplay between the Man in Chair and the onstage action made it feel as though we were peeking into his imagination, where the lines between reality and fantasy blur in the most delightful way. Adrian Carr, who stepped into the role of the Man in the Chair at the last minute, gave a performance that was truly heartwarming. His portrayal reminded me so much of Robin Williams—endearing, funny, and just a little bit melancholic. As the actual director of this production, Carr's enthusiasm for this musical was palpable. There was a compelling authenticity to his performance that made it seem as though he wasn’t merely playing a role, but rather sharing a piece of himself with us all. The set, also designed by Adrian Carr, beautifully captured the essence of an apartment/dressing room with meticulous attention to detail. The characters made unexpected entrances from all sorts of places, including the fridge! It was clear that an immense amount of thought and effort went into creating a space that was not only functional but also enriched the whimsy of the storyline. Plus, there's something special about seeing a musical in an old fire station that's been converted into a performance space. The intimate setting really makes the whole experience feel personal, almost like enjoying a show in a friend's living room. The lack of microphones adds to this charm, even though it brought some challenges with sound levels, especially during the musical numbers. Still, the cast's vocals and projection were highly impressive!   The show opened with the lively number "Fancy Dress," introducing us to a cast of quirky characters. Samantha O’Hare was an absolute delight as the titular Drowsy Chaperone. Her entrances, gracefully clinging to the bed as it descended from the wall, were iconic. Her portrayal of the perpetually tipsy chaperone, marked with a martini glass and a Patti LuPone-esque flair, was hilariously entertaining. O'Hare's fantastic jazz vocals were showcased in "As We Stumble Along," where she played the character with a blend of class and chaos. I would love to see her in more comedic roles—she truly has a knack for it. Justin Piper’s portrayal of Aldolpho was the epitome of comedic excess. His exaggerated theatrics kept the audience chuckling, particularly during his self-referential number "I Am Aldolpho." The dynamic between Piper and O’Hare was a delight, with his consistent ignorance of her advances making their scenes together comedic gold. Vivien Wood, in her role as Janet Van De Graaff, captivated with her solo "Show Off". Her voice, as sweet as a turtledove, soared through the theatre during this dazzling display of vocal prowess, prop work, and rapid costume changes.   Nicholas Joy played the over-the-top, loveable, and clumsy Robert Martin. He was a joy to watch, complete with a voice so exaggerated it could rival Prince Edward from Enchanted . His high-energy tap number "Cold Feet," performed alongside James Bird as George, was a crowd-pleaser, even if the sight-lines occasionally obscured their fancy footwork. The sheer exuberance radiating from their faces more than made up for it. Joy's duet with Vivien Wood, titled "Accident Waiting to Happen," was a beautifully sweet moment. Gillian Simpson and Rod Jones embodied the forgetful Mrs. Tottendale and the loyal servant Underling. Simpson's strong classical voice contrasted excellently with Jones' deadpan delivery. Their duet "Love is Always Lovely" was adorable and their scenes were utterly entertaining, especially considering Jones found himself on the receiving end of a spit-take more times than I could count. Tristan James portrayed Feldzieg convincingly as the powerful Broadway producer with a distinctive Jersey accent as if he had truly stepped right out of 1928. Tamara Long brought bubbly energy to the role of Kitty, capturing the essence of the hopeful, air-headed starlet. Douglas Berry and Brendan Dieckmann, as the pastry chefs (definitely not gangsters), were a hilarious duo, bringing slapstick comedy to their number "Toledo Surprise". Elyse Rea shone as Trix in the grand finale "I Do in the Sky." Each actor was perfectly suited for their role, collectively bringing the entire production to life in the vibrant manner envisioned by the Man in the Chair. After a power outage in the Man in the Chair’s apartment, I found myself holding my breath, feeling a wave of empathy for his frustration at the interruption—who wouldn’t be devastated if their favourite musical stopped just one note from the end? The cast joining him for the encore created a perfect, heartwarming ending. Adrian Carr’s final words as the Man in the Chair, expressing his love for a musical he’s never actually seen live, resonated deeply. It was a reminder of the power of theatre to bring people together, even in moments of solitude. Productions like ' The Drowsy Chaperone'  are a testament to the thriving arts scene in Ipswich. They not only provide a platform for local talent to shine but also bring the community together in celebration of the shared joy of theatre. Swich Up Productions is playing a pivotal role in nurturing this vibrant culture. While I would love to see this production performed on a larger scale, complete with an orchestra and microphones, this cast and creative team captured the heart and humour of the show perfectly. With upcoming shows like It’s a Wonderful Life  in December 2024 and Jekyll & Hyde  in 2025, there’s much to look forward to from this talented group.

Performed by Catbird Theatre at On the Boards Theatre Company during the Anywhere Festival, 'Stark Raven Mad' took the audience on a whimsical journey through poetry. The merry crowd of little rascals and their grown-ups enjoyed a delightful fusion of gothic and goofy antics that captivated both the young and the young at heart.   'Stark Raven Mad' is a poetic kaleidoscope, featuring 30 poems from literary legends like Edgar Allan Poe, Emily Dickinson, and Lewis Carroll. These poems weren't just recited - they were transformed into a spectacle with puppets, costumes, and lively movement. The trio of children's performers—Alice Beaver Clapham, Mary Eggleston, and Aimee Gray—brought an infectious energy that had the kids riveted. They animated these classic poems (often written to frighten children into good behaviour) in a manner that was accessible and fun for young viewers. One of the show's most engaging features was its interactive element. Children were invited to join in the fun, dressing up in silly costumes, and acting out brief scenes. It was heartwarming to see their faces light up as they participated and took their bows. The clever use of sound effects and songs like "Monster Mash," "Time Warp", "Thriller," and "Spooky Scary Skeletons" kept the energy high. The performers easily transformed into characters like creepy goblins, cackling witches, swashbuckling pirates, or sneaky spiders. They even got to showcase puppetry skills with skeletons, snakes, birds, and more. Their fun physicality ensured that even the more lengthy poems were engaging and enthralling for the kids. And despite the complexity of some poems' vocabulary, the performers' animated voice work guaranteed that each piece was vibrant. The hilarious depiction of Romeo and Juliet's tragic end was especially memorable. With a runtime of just 60 minutes, the show successfully catered to the short attention spans of its young audience by presenting poems ranging from 30 seconds to a few minutes each. Closing with "The Raven," the show ended on a fitting and memorable note. The post-show activities, including a Q&A session, worksheet, lucky dip, costume try-ons, and photo opportunities with the cast, added a nice touch to the overall experience.   Stark Raven Mad  offers a unique way to introduce children to classic poetry. With its combination of puppetry, play, and participation, it’s a fantastic choice for families and school groups looking for a fun and enriching theatrical experience. This show is a testament to the power of theatre in making literature accessible and enjoyable for all ages.

Title:  Auditions for Fright Nights 2024 Presented By:  Evolution Entertainment Genre:  Scare Acting/Performance Synopsis: Fright Nights at Warner Bros. Movie World is back for October 2024! This annual event features terrifying mazes, spooky scare precincts, and thrilling rides. We’re looking for enthusiastic and talented individuals to join our team of Scare Actors and Maze Presenters. If you have a flair for horror and performance, we want you! Audition Dates:  15th, 16th, and 17th August 2024 Audition Time:  Various slots available Audition Location and Address:  29/3 Dalton Street, Upper Coomera, QLD 4209 Application Link:   Register Here Callback and Fitting Dates:  20th to 23rd August 2024 Orientation and Training Dates:  2nd to 11th September 2024 Event Dates:  5th October; 11th-12th October; 18th-19th October; 25th-26th October; 31st October Requirements: Age:  16+ Availability:  Must be available for all event dates and required orientation/training. Roles Available: Scare Actors:  Engage and frighten guests in various scare zones and mazes. Maze Presenters:  Guide guests through terrifying mazes and add to the immersive experience.

Title:  Shrek The Musical JR. Presented By:  BG Performing Arts Genre:  Musical Theatre Synopsis: Once upon a time, in a far away swamp, there lived an ogre named Shrek. One day, Shrek finds his swamp invaded by banished fairytale misfits who have been cast off by Lord Farquaad, a tiny terror with big ambitions. When Shrek sets off with a wisecracking donkey to confront Farquaad, he's handed a task – if he rescues feisty princess Fiona, his swamp will be righted. Shrek tries to win Fiona’s love and vanquish Lord Farquaad, but a fairytale wouldn't be complete without a few twists and turns along the way. Workshop Dates: Monday 23rd September - Saturday 28th September, 2024 Workshop Times: Monday 23rd September: 9:00am-5:00pm Tuesday 24th September: 9:00am-5:00pm Wednesday 25th September: 9:00am-5:00pm Thursday 26th September: 9:00am-5:00pm Friday 27th September: 9:00am-8:30pm (with pizza party dinner break!) Saturday 28th September: 10:00am-9:30pm Workshop Location:  Mitchelton SHS Performing Arts Centre, 754 Samford Road, Mitchelton QLD Workshop Cost:  $385.00 Workshop Information: The workshop will provide a nurturing and constructive environment for young performers aged 12-18 to develop their performance skills, boost confidence, and have fun. Participants will work with professional theatre makers and get the chance to perform on stage. The registration fee covers the costs of rights, royalties, insurances, technical and creative staff, set and props, venue hire, and a pizza party. An additional costume hire fee may apply once the cast is finalised. Required Age: 12-18 years Audition Dates: Sunday 1st of September 2024 Audition Times: 12:30pm-5:30pm Audition Location: Brisbane Academy of Dance, 15 Harvton St, Stafford QLD 4053 Audition Pack:   Audition Pack Registration Link:   Register Here Performance Dates: Saturday 28th September 2024 Performance Times: 2:30pm & 7:30pm Performance Location and Address: Mitchelton SHS Performing Arts Centre, 754 Samford Road, Mitchelton QLD Ticket Costs: $25.00 per ticket (Ages 3+) $30.00 at the door Ticket Link:   Performance Tickets Creative Team: Director: Sam Caruana Choreographer: Bella Gordon Music Director: Kate Baxter Production Manager: Tallulah Baird Production Website:   Shrek JR. Production Website Other information: Auditions are required for lead, minor roles, featured dancers, or soloists. Auditions for ensemble roles are highly recommended to get to know the creative team. If unable to attend in person, an online video submission can be arranged by emailing info@bgperformingarts.com . All music and dance components will be taught on the day. Prepare one monologue for the acting component and bring appropriate attire and materials.

Title: Frozen KIDS Presented By: BG Performing Arts Genre: Musical Theatre Workshop Workshop Dates: Monday 16 – Saturday 21 September 2024 Workshop Times: Monday 16 September: 9:00am-3:30pm Tuesday 17 September: 9:00am-3:30pm Wednesday 18 September: 9:00am-3:30pm Thursday 19 September: 9:00am-3:30pm Friday 20 September: 9:00am-5:30pm (with pizza party dinner break) Saturday 21 September: 10:00am-6:45pm Workshop Location: Mitchelton SHS Performing Arts Centre, 754 Samford Road, Mitchelton QLD Required Age: 6-11 years Workshop Cost: $385.00 Workshop Information: Disney’s Frozen KIDS is a 30-minute musical adaptation of the beloved Disney film, featuring memorable songs with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, plus five new songs written for the Broadway production. The story focuses on the emotional journey of Princesses Anna and Elsa as they discover their hidden potential and the powerful bond of sisterhood. This workshop provides a nurturing, constructive, and safe environment for young performers, focusing on performance skills, confidence, and fun. The registration fee covers rights, royalties, insurances, technical and creative staff, set and props, venue hire, and a pizza party. An additional costume hire fee may apply after the cast is finalised. Audition Date: Sunday 1 September 2024 Audition Time: 9:00am-12:00pm Audition Location: Brisbane Academy of Dance, 15 Harvton St, Stafford QLD 4053 Audition Pack: Click here Registration : Click here Performance Date: Saturday 21 September 2024 Performance Time: 6:00pm Performance Location and Address: Mitchelton SHS Performing Arts Centre, 754 Samford Road, Mitchelton QLD Ticket Costs: Ages 3+:  $20.00 At the door:  $25.00 Ticket Link: Purchase Tickets Creative Team: Director: Bella Gordon Choreographer: Rhiannon Baird Music Director: Kate Baxter Production Manager: Sam Caruana Production Website: More Info Other information: Auditions for speaking/featured roles are not compulsory but are encouraged. Free after-hours care is available from 3:30pm-5:00pm (Monday-Thursday). All participants must be at least 6 years old by the date of performance. Character Descriptions: Young Anna, Middle Anna & Anna:  The young Princess of Arendelle at different ages, filled with optimism and a longing for connection. Young Elsa, Middle Elsa & Elsa:  The elder Princess with magical powers, who learns to control and be confident in her abilities. Hans:  The ambitious Prince with a charming facade hiding a darker side. Kristoff:  A hardworking ice harvester with a big heart. Olaf:  A magical snowman who loves summer. Sven:  Kristoff's loyal reindeer friend with a strong movement vocabulary. King Agnarr:  The warm-hearted ruler of Arendelle. Queen Iduna:  A protective queen with a deep understanding of Elsa’s powers. Bishop:  Officiates the coronation with a serious manner. Weselton:  An overbearing duke with an inferiority complex. Pabbie & Bulda:  Warm-hearted mystical leaders of the Hidden Folk. Ensemble:  Includes storytellers, townspeople, snow chorus, and various roles.

Title: Love-Lies-Bleeding  by Don DeLillo Presented By:  Ad Astra Theatre Company Genre:  Drama Synopsis: Love-Lies-Bleeding  is a powerful meditation on mercy and mortality. It follows artist Alex Macklin in the last years of his life, exploring the emotional and ethical dilemmas faced by his family as they navigate the question of life and death in the age of advanced medical technology. Audition Date:  Monday, 19 August 2024 Audition Time:  9:30 AM – 3:30 PM Call Backs:  Thursday, 22 August 2024 Audition Location and Address:  210 Petrie Terrace, QLD Available Roles: Alex:  A man in his 70s (2 roles available) Lia:  A woman in her early 30s Sean:  A man, aged 35 Toinette:  (Already cast) Audition Requirements: Please prepare two monologues (up to 3 minutes each): one classical and one contemporary. Be prepared for cold reads from the script. Audition Registration:  Email your CV (Word or Google Doc only) and a recent headshot to creatives@adastracreativity.com Specify the role(s) you're auditioning for and any times you're unavailable. Performance Dates:  31 October – 23 November 2024 Performance Location:  210 Petrie Terrace, QLD 4000 Rehearsal Dates:  September–October 2024 (part-time, schedule TBC based on availability) Creative Team: Director:  Michael Futcher Assistant Director:  Tom Pocilujko Creative Director:  Fiona Kennedy Executive Producer:  Gregory Wilken Production Website:   Ad Astra Theatre Company Other information:  This is a co-op production; cast members will receive a share of ticket sales after expenses.

Title:  Failure: A Love Story Presented By:  Villanova Players Genre:  Ensemble Play/Musical, Comedy/Drama Synopsis: "Failure: A Love Story" by Philip Dawkins tells the whimsical and poignant story of the Fail family, clockmakers in 1920s Chicago. The play weaves together love, loss, and the passage of time, exploring the lives of the Fail sisters—Gerty, Jenny June, and Nelly—as they navigate their destinies. With a blend of humour and heartache, the play's ensemble cast, including a chorus of clocks, animals, and even a gramophone, brings to life the vibrant world of the Fails. Audition Date:  Sunday, 25 August 2024 Audition Time:  11:00 am Audition Location and Address:  Ron Hurley Theatre, 28 Tallowwood St, Seven Hills, QLD Audition Requirements: Please prepare a short monologue (1-2 minutes) that showcases your ability to blend comedy and drama. Be ready to demonstrate any special skills relevant to the character descriptions (e.g., accents, singing). Cold readings from the script may be required. Available Roles: Henry Fail:  A respected clockmaker, age about 36, with a slight Eastern European accent. Marietta Fail:  A clockmaker, age about 36, with a slight Eastern European accent. Gertrude (Gerty) Fail:  The eldest daughter, age 28, feisty and determined. Jenny June Fail:  The middlest daughter, age 22, an excellent swimmer and diver. Nelly Fail:  The youngest daughter, age 20, a singer and dancer. John N Fail:  The only son, age about 22, a vet who’s more at home with animals. Mortimer Mortimer:  Age 26, wealthy by luck, kind-hearted. Gramophone:  An all-singing role, no lines, just songs. Old Dog:  A significant speaking role, delivering the play’s most poignant line. Art Dodd:  A bartender and clock shop customer. Grantland Rice:  A radio journalist reporting on Jenny June’s swim. Moses:  A large python with an important speaking role. Various Clocks:  Speaking and ticking roles. Mae and December:  Feral Monk Parakeets with speaking roles. Chorus Roles:  Commentators, sound effects, narrators—all characters join the chorus. Audition Registration: Let us know you're interested by completing the Expression of Interest  form, even if you can't make it to the audition. Audition Pack: Download Audition Pack Performance Dates: 8 - 10 November 2024 Performance Location: Ron Hurley Theatre, 28 Tallowwood St, Seven Hills, QLD Rehearsal Dates: Starting 2nd September, two nights per week and a weekend daytime rehearsal as needed. The schedule may increase closer to performance dates. Rehearsal Times: To be negotiated based on availability. Creative Team: Director:  Rod Thompson Stage Manager:  Needed Costumier:  Needed for 1920s attire and specialty costumes. Props:  Weird and wonderful items needed. Set:  Moveable pieces required. Lighting Design:  Delicate focus, including specials for individual actors. Lighting Operation:  Mainly specials and basic cues. Video Operation:  Critical role, requiring attendance at some rehearsals. Sound Operation:  Not needed—no pre-recorded sound effects or music. Production Website: Villanova Players Auditions Other information: This is an ensemble-driven production with opportunities for creative input. The show will feature unique techniques and styles, including songs and dances without instruments. All roles are part of the chorus and engage directly with the audience.