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Title: The Pink Panther Strikes Again Presented By: Sunnybank Theatre Group Genre: Comedy / Farce / Slapstick Synopsis: Chief Inspector Jacques Clouseau, the world’s most unusual criminologist, finds himself fighting for his life and the future of mankind in a bizarre and dangerous caper. His former boss, Paul Dreyfus, has been driven mad by Clouseau’s undeserved success and now threatens the world with the Doomsday Machine unless Clouseau is delivered to him. Full of verbal humour, physical comedy, farcical accents and slapstick chaos, The Pink Panther Strikes Again brings the comic spirit of the classic film to the stage. Audition Date: Saturday 20 June 2026 Audition Time: 1:30pm Audition Location and Address: Sunnybank Theatre, 14 Mains Road, Sunnybank QLD Audition Requirements: Auditionees must register to be considered. Strong accents are required, especially for lead roles. The production calls for French, English, Asian, Egyptian, Russian, Indian, German and other farcical accents. Physical comedy and comic timing are important, particularly for Clouseau and Dreyfus. Audition Registration: Register for an audition Audition Pack: Download the audition notice Performance Dates: 4–19 September 2026 Performance Location: Sunnybank Theatre, 14 Mains Road, Sunnybank QLD Creative Team: Director: Lesley Davis-Oliver Playwright: William Gleason Production Website: Sunnybank Theatre Group Auditions Available Roles/Character Breakdown: Roles that do not double: Clouseau — Chief Inspector of the Surete. French accent. Dreyfus — Former Chief Inspector and Clouseau’s arch-enemy. French accent. Cato — Clouseau’s oriental manservant/butler. Asian accent. Dr. Fassbender — Inventor of the Doomsday Machine. English accent. Margot — Dr. Fassbender’s daughter. English accent. Olga — Russian agent and Clouseau’s love interest. Russian accent. Hindu Harry — Dreyfus’ gangster cohort. Indian accent. Cairo Fred — One of Dreyfus’ henchmen. Egyptian accent. Roles that may double or triple: Waiter — Restaurant waiter. French accent. French Lady — Lover in restaurant. French accent. French Man — Lover in restaurant. Non-speaking role. Dr. Duval — Dreyfus’ psychiatrist. English accent. Inmate — “Indian” inhabitant of lunatic asylum. French accent. Orderlie 1 & 2 — Asylum orderlies. Non-speaking roles. Francois — Clouseau’s driver. French accent. Jarvis — Dr. Fassbender’s butler. English accent. Mrs Japonica — Dr. Fassbender’s maid. English accent. Mrs Leverlilly — Dr. Fassbender’s housekeeper. English accent. Mrs Bullock — Dr. Fassbender’s cook. English accent. Mr Shork — Dr. Fassbender’s gardener. English accent. Mrs Stutterstutt — Dr. Fassbender’s beekeeper. Non-speaking role. Drummond — Inspector, Scotland Yard. English accent. McLaren — Inspector, Scotland Yard. English accent. Emcee — Mirage Club host. English accent. Chuck — Head waiter at the Mirage Club. English accent. Couple 1 & 2 — Spectators at Mirage Club. Non-speaking roles. Man – Mafia Type — Henchman/assassin. New York Mafia accent. Technician — Works in Dreyfus’ television studio. English accent. Messenger — Bearer of bad news for Clouseau. German accent. German Girl — Spy with poisoned pretzel. German accent. Buxom Waitress — Assassin 1. Non-speaking role. Chinese Assassin — Assassin 2. Non-speaking role. Arabian Assassin — Assassin 3. Non-speaking role. Italian Assassin — Assassin 4. Non-speaking role. Polish Assassin — Assassin 5. Non-speaking role. Japanese Assassin — Assassin 6. Non-speaking role. Nigerian Assassin — Assassin 7. Non-speaking role. Swede Assassin — Assassin 8. Non-speaking role. Mexican Assassin — Assassin 9. Non-speaking role. Desk Clerk 1 — German, any gender/age. German accent. Desk Clerk 2 — German, older, mid-late 50s. German accent. Tournier — Bank robber. French accent. Pink Panthers x3 — Stagehands and actor/dancer roles. Non-speaking.

Title: Midsummer Presented By: Dreamers Drama Genre: Promenade Theatre / Musical Theatre / Shakespeare Synopsis: Midsummer is a promenade-style production combining musical theatre, immersive theatre and classical Shakespeare. Inspired by A Midsummer Night’s Dream, the production follows three connected worlds: the Lovers caught in romantic chaos, the Fairies causing mischief in the forest, and the Mechanicals attempting to rehearse their play. Audiences will move through the performance world, experiencing Shakespeare’s story in an energetic, accessible and magical way. Audition Date: First Round Auditions: Monday 22 June 2026 – Musical Theatre 6:00pm – 7:30pm Tuesday 23 June 2026 – Acting 6:00pm Second Round Auditions: Monday 13 July 2026 – Musical Theatre 4:00pm – 6:00pm Tuesday 14 July 2026 – Acting 4:00pm – 6:00pm Audition Self-Tape Due (if applicable): Video auditions accepted if unable to attend in person. Audition Requirements: Musical Theatre Auditions: Prepare one pop song and one contrasting musical theatre song, 1 minute each, performed with backing tracks. Acting Auditions: Prepare a memorised 1–2 minute monologue based on the character you would like to audition for. Auditionees should be prepared to take direction on the day. Audition Pack: Download the Midsummer Audition Pack Performance Dates: Saturday 28 November 2026 - Sunday 29 November 2026 Rehearsal Dates: Weekly classes: 6:00pm – 7:30pm Full Cast Table Read: Thursday 23 July 2026 Full Cast Rehearsal: Saturday 7 November 2026 Tech Week: Monday 23, Tuesday 24 and Thursday 26 November 2026 Production Website:Dreamers Drama Other information: The production is divided into three casts: The Fairies, The Mechanicals and The Lovers. Most students attend one class per week unless cast in a major role or supporting role plus ensemble. All roles are double cast. Students must commit to weekly rehearsals, additional rehearsals and being off-book by 7 November. Available Roles/Character Breakdown: The Fairy Cast – Monday Musical Theatre A musical theatre ensemble who shape the enchanted world of the play through singing, movement, storytelling and character work. Titania – Queen of the Fairies. Bewitched into falling in love with Bottom. Oberon – King of the Fairies. Drives much of the play’s magical chaos. Puck / Robin Goodfellow – Mischievous fairy and Oberon’s servant. Major role attending Monday and Thursday. Bottom – Nick Bottom, the weaver. Part of the Mechanicals, transformed and drawn into the fairy world. Major role attending Tuesday and Thursday. Moth, Peaseblossom, Mustardseed, Cobweb – Ensemble fairies requiring strong movement and singing. The Mechanicals – Tuesday Acting A comedic acting ensemble portraying an enthusiastic amateur theatre troupe preparing Pyramus and Thisbe. Bottom – Confident actor playing Pyramus. Major role attending Tuesday and Thursday. Peter Quince – Carpenter, writer and director of the play. Peter Paste – Assistant to Peter Quince. Francis Flute – Bellows-mender forced to play Thisbe. Tom Snout – Tinker who plays Pyramus’s father and the wall. Snug – Joiner who plays the lion. Robin Starveling – Tailor who plays Thisbe’s mother and Moonshine. The Lovers – Thursday Acting Energetic Shakespearean comedy roles exploring romance, jealousy, confusion and emotional chaos. Puck / Robin Goodfellow – Fairy who appears in the human world. Major role attending Monday and Thursday. Theseus – Duke of Athens, engaged to Hippolyta. Supporting role, may also audition for Fairy Ensemble. Hippolyta – Queen of the Amazons, engaged to Theseus. Supporting role, may also audition for Fairy Ensemble. Egeus – Hermia’s father, determined she should marry Demetrius. Supporting role, may also audition for Fairy Ensemble. Hermia – Strong-willed and independent, in love with Lysander. Lysander – Young nobleman in love with Hermia. Demetrius – Young nobleman pursuing Hermia, despite Helena’s love for him. Helena – Hermia’s friend, desperately in love with Demetrius.

“It’s better to be hated for what you are, than liked for what you’re not.” Written by Dan Butler, The Only Thing Worse You Could Have Told Me is a 90-minute one-man play exploring gay life in 1990s America. First performed in the United States by Butler himself, the work now receives its Australian premiere at Back Dock Arts, directed by Timothy Weston and performed by Matilda Award-winning actor CJ de Mooi. With all profits donated to LGBTIQ+ youth charities, there is an added sense of purpose behind this production, particularly landing in Brisbane during Pride Month. Set in America in 1994, with the AIDS epidemic still casting a long and terrifying shadow, the play is a mosaic of memories, arguments, confessions and character studies. Across fourteen vignettes, de Mooi embodies a range of gay men and people orbiting queer experience, each bringing a different perspective on identity. A clothes rack of costumes sits to one side, used for swift transitions between characters, while the raised stage area holds a bedroom setting. The costumes, designed by Andrew Cox, do a lot of quick storytelling. A jacket, hat, pair of shoes, or a suit can give us an immediate visual cue about who we are about to meet, often before a word is spoken. The opening scene places us in a bar with a rough, drunk, opinionated bloke who throws around slurs and “jokes” with the casual confidence of someone who has never had to think too hard about the damage of his words. When his buddy comes out to him, his first response is disbelief. Then come the usual questions, the awkward curiosity, the clichés, and the classic “Were you ever attracted to me?” line that has probably haunted many a coming-out conversation. What makes the scene work is that it is not played as a simple villain moment. He is ignorant, yes, but not cruel. He fumbles his way toward a kind of support. De Mooi plays the scene opposite an empty bar stool, yet the unseen friend is easy to picture. That is one of the production’s biggest strengths. It repeatedly asks us to complete the image, and I easily do. From there, the play keeps shifting ground. One scene becomes an anxious internal argument as a gay man spirals over how much of himself to reveal at a high school reunion in the American South. Another gives us a man watching his lover sleep, overwhelmed by gratitude, fear and insecurity. He wonders if this is true love, while also quietly panicking that something so beautiful could disappear. The costume choice in this scene is confronting in a way that certainly makes the moment memorable, even if I personally find it a little uncomfortable. Still, discomfort is not always a bad thing in this play. Often, it is the point. Another vignette reflects on childhood and early sexual curiosity, with a fifth grader discussing “f*ck club” with his friend Tommy. Elsewhere, a man recalls being a child in community theatre and experiencing a gay awakening while watching the West Side Story dancers rehearse. Theatre has long been a place where people see versions of themselves they may not yet have words for. Butler’s script refuses to flatten gay experience into a single tidy message. Its characters are brave, hypocritical, scared, proud, loving, and flawed. Some have spent their whole lives protecting themselves so fiercely that they now wound others without realising. The script explores the many ways queer people are judged not only by society, but by each other. There are boxes within boxes: masculine, feminine, discreet, loud, political, theatrical, agreeable. The show asks who gets to decide which version of queerness is "acceptable" in a scene where a more flamboyant fellow confronts an acquaintance, also gay, who considers him too excessive and embarrassing. It is a pointed moment, because the play holds the community accountable too. The story understands that these marginalised communities are still made up of complicated human beings. Being gay does not automatically make someone progressive, kind, or free from prejudice. This comes through sharply in the AIDS protest rant, where a gay activist calls for justice while spewing racism, misogyny and resentment toward other marginalised groups. It is an ugly and necessary reminder that oppression does not magically purify a person. The title finds its full weight late in the piece, in a scene where a man calmly recounts coming out to his conservative father. De Mooi captures the father’s rage with force, but the most painful part is not just the anger. It is the obliviousness. The father has lived through a world where gay people existed (of course they did), but were hidden, silenced, mocked, criminalised, shamed or lost. The scene holds the generational gap between what was spoken and what was buried. It also reminds us how far society has come, and how fragile that progress can still feel. One of the most entertaining scenes comes through a drag queen-style sermon on selective religious morality. The argument is familiar, but still satisfying: you cannot cherry-pick the Bible, cling to the rules that suit your prejudice and conveniently ignore the rest. The character points to the cultural loss that would exist without queer artists, thinkers, performers and makers, asking us to “think of the music, the words, the artistry that would be lost.” Imagine all the art never made because someone was told they were wrong before they even had a chance to begin! Although the AIDS epidemic is central to the era of the play, only a few vignettes address it directly. Mostly, it exists as a constant pressure in the room. It hovers behind relationships, activism and conversations. That restraint helps the play avoid becoming a single-issue history lesson. Instead, Butler lets all the themes rise naturally: gay pride, discrimination, internalised shame, family rejection, community politics, lust, loneliness and the basic human need to feel seen. De Mooi is an engaging and committed performer, and his stamina is impressive. The show runs close to 100 minutes with no interval, and it asks a great deal of him. He holds the stage alone, moving from character to character, scene to scene, with focus and command. The final scene, featuring a delivery driver in LA who brings food to a man suffering from AIDS and dementia, is one of the strongest moments. It has the rhythm of stand-up storytelling, but beneath the humour sits something much more devastating. I can vividly picture the apartment, the patient, the connection, and the tenderness. It is a beautifully clear piece of solo performance. That said, the character work is not always as distinct as it could be for me. The costumes provide strong visual separation, but vocally, several characters sit in quite similar territory. Even the more vivacious men and the more traditionally masc figures sound closer to each other than expected. As a British actor performing an American-set piece, de Mooi also has the added challenge of working across a range of American accents, and these are not always convincing. At times, the accent work actually pulled my focus from the writing. As someone who is not the target audience for this work, I still find it accessible and affecting. For LGBTQIA+ audience members, there is likely recognition here, even when the details belong to a specific time, place and generation. For allies like me, there is empathy and education without hand-holding. For anyone who has ever felt outside the accepted shape of the world, there is something to connect to. And for the bigots - the people who would probably benefit most from sitting through these stories - it is a shame they are the least likely to show up. The Only Thing Worse You Could Have Told Me is not a polished parade of perfect representation, nor does it try to be. It is messier and more interesting than that. It presents queer life as contradictory and identity is never just one story.

Title: I Am Destiny Presented By: Maleny Players Genre: Dark Comedy / Drama / Original Musical Theatre Synopsis: Set in present-day Queensland, I Am Destiny follows a mysterious woman confined within a prison hospital and her three adult daughters, whose lives were torn apart by a family tragedy. As their separate stories begin to reconnect, buried secrets, fractured relationships and the consequences of the past come sharply into focus. Part play and part musical, the original work moves between comedy, drama and unconventional theatrical storytelling. With a large collection of eccentric, troubled and morally complicated characters, I Am Destiny explores family, identity, trauma and the forces that shape the paths people take. Audition Date: Wednesday 24 June 2026 Audition Time: From 6:00pm Audition Location and Address: The Playhouse, Maleny Showgrounds, Maleny QLD 4552 Audition Requirements: Performers auditioning for singing roles may email their preferred audition song in advance. A small selection of songs will also be available to choose from on the night. The production requires a versatile cast of actors and singers. There are roles for strong vocalists, average-to-good singers and non-singing actors. Audition Registration: Contact Darren to book an audition spot: 0467 240 808 dresses7@gmail.com Audition Pack: Further information and a song from the show are available by contacting dresses7@gmail.com Performance Dates: 25 September – 4 October 2026 Warnings: Dark themes, family tragedy, mental health, institutionalisation Performer Age: Adults, with playing ages ranging from approximately 25 to 60+ Creative Team: Writer and Composer: Darren Heskes Production Website: Maleny Players Auditions Other information: The show contains 23 characters, expected to be performed by approximately 12–16 actors. Available Roles/Character Breakdown: Destiny (40+, playing 60+) The mother and central character. Requires a strong alto or mezzo voice. Aria (30+, playing 35+) Destiny’s first daughter. Singing-only role requiring a strong mezzo or soprano. Cadence (25+, playing 30+) Destiny’s second daughter. A comic role requiring an above-average mezzo. Bella (25+, playing 25+) Destiny’s third daughter. Capable actor and singer with one solo. Gary (35+) Aria’s husband and a former psychiatric patient. Requires a capable actor and baritone. Spencer (35+) An aspiring actor and victim of Cadence. Requires a capable high baritone or tenor. Puck (25+) An evil, comic fast-food addict, gamer and troublemaker. Written as male but may be played by a female performer. Has one song and suits an actor who can sing moderately. Raven (50+) A media mogul and strong character role with one lead song. Doctor (40+, any gender) A pivotal, serious and villainous character. Non-singing role. Doctor 2 (Male, 40+) A semi-comic but complicit counterpart to Doctor. Non-singing role. Grandpapa (60+) Likeable, kind and gently comic. Non-singing role. Princess (50+) Grandpapa’s eccentric and unpredictable wife. Non-singing role. Deputy Health Officer (Male, 30+) Non-singing role. Additional Roles Further essential singing and non-singing characters are available across the ensemble.

Triple Bill: Glassworks + Rendezvous + One of Those Days Presented by Brisbane Ballet at QUT Gardens Theatre Choreographed by Rosetta Cook, Arianna Marchiori, Emrys Goldsworthy Photography by Alisa Poturaeva Dance has a way of communicating what words often make clumsy. It lets dancers tell stories without handing you the words, which is fortunate, because I am not going to pretend I know ballet terminology beyond the basics. I came to Glassworks + Rendezvous + One of Those Days as someone who appreciates dance more than I can technically explain it, and what I got was three bold, beautifully performed works that made me sit there completely absorbed. This was not a program that stayed in one lane. 'Her' moved beautifully between three worlds: the sensual tango of Rosetta Cook’s Rendezvous, the pulsing complexity of Arianna Marchiori’s One of Those Days, and the ambitious force of Emrys Goldsworthy’s Glassworks. Rather than presenting female experience as one neat, easily defined thing, the triple bill allowed it to shift shape. It appeared as desire and connection, as repetition and solidarity, and as discipline and transformation. The program opened with Rosetta Cook’s Rendezvous, performed by Lucinda Worthing-Shore and Tynan Wood. Set in the world of Argentinian tango, it carried heat, restraint and elegance, with ballet softening the movement without draining its suspense. The lighting and haze softened the stage into a secretive blur, like a private affair glimpsed through gauze. Wood opened with playful nerves, all preparation and anticipation. But that energy changed as soon as Worthing-Shore appeared. She was a stunner in elegance, control and presence. Her heel work was immaculate, and she moved with such confidence that the stage seemed to rearrange itself around her. Though Rendezvous was brief, only two movements, it felt complete. The choreography used chairs, floorwork and close partnering to build sensuality through trust. The lifts had strength without showboating, and there was genuine intimacy between the two dancers. Arianna Marchiori’s One of Those Days was danced by Hannah Nash, Shanti Barlow, Rebecca Dooley, Maeve Rooney, and Molly Bell. These five women in rusty brown and navy dresses took the stage in socks to create a completely different world for this piece. One of Those Days felt like being dropped inside the nervous system of a group of women trying to get through the day, the week, the body, the expectations, the everything... It opened with a pulsing beat and a series of tableaux around a table, each one caught for just a few seconds in the spotlight. Those brief images gave flashes of mood and meaning before vanishing. I read them as fragments of girlhood; tiny snapshots of emotion, pressure, performance, fatigue, and defiance. The synchronised work of the dancers was especially striking. These five girls were clearly distinct in style, yet they frequently moved as a single entity. The choreography progressed from fast, sharp phrases, bodies throwing themselves to the floor, to more fragmented sections where they seemed separate and self-contained. Then the distance broke. They carried, held, embraced, and acknowledged each other. That transition from isolation into support was one of the most affecting parts of the piece. The lighting was stunning throughout this work. Much of it came from wide spotlights above, carving the dancers out of the dark and letting shadows become part of the storytelling. The music, often EDM-like and heavy, thumped around the space and gave the work a restless charge. Some recurring images threaded through the work stayed with me: movements of “lifting yourself up,” sprinting in circles, hints of “three wise monkeys” motif, and poses that startled because of the sheer strength they revealed. Some choreographic moments were unlike anything I had seen before, which is probably both a sign that I should watch more dance pieces and that this work was doing something truly fresh. For me, One of Those Days travelled through many facets of girlhood and sisterhood. It looked at the internal cycles women move through, but also the external expectations that shape how much of those cycles they are allowed to show. It captured empathy, tension, conformity, exhaustion, resistance, and recognition. The final and largest work of the evening was Emrys Goldsworthy’s Glassworks, named for composer Philip Glass and set to his hypnotic, orchestral music. Performed by Lucinda Worthing-Shore, Tynan Wood, Rafaela Morel, Rubi Hawkins, Hannah Nash, Shanti Barlow, Rebecca Dooley, Maeve Rooney and Molly Bell, this was an immense work that fused post-classical contemporary dance, pointe work and neoclassical ballet. And look, I am not going to pretend I can technically explain everything I saw. I cannot. What I can say is that Glassworks was wildly impressive! The first movements had a fast, urgent quality that I loved immediately. The dancers hit frame after frame with startling precision, and they did it on pointe! They glided across the stage like they were on ice skates, skimming through space with speed and grace while the music surged underneath them. Rafaela Morel also delivered some truly astonishing moments. I wrote in my notes, “Rafaela does the craziest shit I swear,” and while I should probably phrase that more professionally, the sentiment remains accurate. Her movement had a daring, almost reckless quality, but with the control of someone who knew exactly what she was doing. She seemed to attack the choreography with complete commitment. One of the most fascinating things about the choreography was how often the dancers moved around each other in entirely different ways. Rather than everyone simply doing the same thing at once, the stage was full of intersecting patterns, separate choreographic ideas, and shifting relationships. Dancers crossed, chased, circled, curved and cut through the space, creating a constant sense of intricate motion without chaos. As the music calmed, the work shifted. Pointe shoes were shed and replaced with sockettes, opening the door to more contemporary movement. This change altered the whole texture of the piece. It became less about the crystalline sharpness of pointe and more about the body folding, reaching, stretching, contracting and grounding itself. The lyrical variations stood out to me as some of the coolest choreography of the night, paired with some of the most beautiful music. The dancers seemed to use every body part with complete conscious control, down to the smallest ripple or redirection. Worthing-Shore and Wood were stunning in their pas de deux together, this time in a completely different mode from Rendezvous. I mean just look at these photographs! Instead of tango intimacy, their connection in Glassworks had a chasing quality, like two forces being pulled toward and away from each other across the stage. Their partnering was elegant and athletic, and emotionally charged. There was no obvious narrative to cling to and there was not meant to be. Glassworks was far more interested in subverting expectations of ballet and pushing the artform into stranger, sharper, more elastic territory. It was ballet, yes, but not the traditional storybook version. It was progressive, athletic and sometimes unhinged... Goldsworthy’s choreography felt like the work of someone determined to stretch, crack, twist and reassemble the body in every conceivable way. I mean that as a compliment, though I am not sure the dancers’ hamstrings would agree! Together, the works made for a rich and varied performance. The program did not flatten female experience into one neat idea. It let womanhood arrive in contradictions: passionate and powerful, tired and vulnerable, soft and strong, connected and distant, beautiful and unstoppable, disciplined and wild.

Well-Behaved Women Presented by Footlights Theatrical Directed by: Roslyn Johnson Musical Director: Nate Stevenson Vocal Director: Rhea Basha Photography: Lou Thompson, Deb Mayes “Well who wants to be the norm? Not me.” History has a funny habit of remembering the men first. But now, the women grab the microphone, kick the door open, and remind us that history was not made by women who sat quietly in the corner waiting for permission. Presented by Footlights Theatrical, Well-Behaved Women is a contemporary song cycle celebrating the women who refused to stay small, stay silent, or behave as expected. It has a strong “herstory” energy, with a structure that feels a little like Six, in the sense that it uses original and modern musical styles to spotlight women from history. But rather than following one linear storyline, the production moves through a series of musical portraits, each one giving voice to a different woman, moment, and perspective. The show celebrates warriors, queens, survivors, artists, athletes, writers, mothers, wives, activists, and politicians. There are famous names, lesser-explored tales, and some unexpected angles along the way. This eclectic scope keeps the format engaging, especially as the production moves between humour, rage, celebration, reflection, and full-throttle “absolutely not sir” energy. The large cast never feels decorative or lost in the crowd, with each performer finding a clear angle on their featured woman. Footlights draws together plenty of familiar Brisbane theatre faces, varied in voice, age, and energy, to form a vibrant showcase of female and non-male talent. Rhona Bechaz opens the show with sass and cheek as the biblical Eve, decked out in vines and sequins. Her number gives us the lowdown on “what happened in the beginning” with wit, charm, and a dose of holy humour. Fiona Buchanan absolutely slays as Boudicca (and “slays” feels particularly appropriate here). She brings passion and authority to give the Warrior Queen a battle-ready fierceness. Sophia O’Dea shines as Cleopatra, delivering a theatrical command worthy of a queen ('Stay and Fight'). Her mighty voice is imbued with a regal strength to match the magnificence of the legendary Egyptian monarch. Asabi Goodman as Harriet Tubman offers a more subdued, poetic, and beautiful contrast to some of the show’s louder moments. Her reflective and grounded performance allows the production to have a moment to breathe early on. Naviah Morris delivers a powerful depiction of Grace Tame in 'Smile,' using a wisely calm and soulful sound to express the frustration of marginalised voices trying to be heard. Themes of the Me Too movement are integrated clearly, reminding us that these stories are not only personal but also collective, emphasising the need for solidarity and change. 'Papa, Are You There' sees Priya Shah portray Malala Yousafzai. It opens with a striking rock edge that instantly captures attention and echoes a feeling of determination and resilience. As the song progresses, the gradual addition of instruments from just a piano mirrors her emotional journey, making Priya's solo a compelling tribute to this pivotal moment in Malala's story. Loretta Melit is a highly compelling storyteller, stepping into the shoes of Virginia Woolf as she pens A Room of One's Own. Her story conjures up the imagined life of Judith Shakespeare, the fictional sister of the Bard. Loretta maintains emotional focus in her 8-minute tale, bringing Judith to life as she battles the frustration and ultimate tragic fate of being a talented and ambitious woman stuck in the shadows of a male-dominated world. Louella Baldwin's stunning voice adds a bluesy flair to Billie Jean King's song 'Hey Bobby Riggs' with a fiery glint in their eye. It is a story of true gumption, serving as both a protest against the gender inequalities prevalent in sports and society at large, while celebrating the triumphs of women who dared to challenge the status quo. Rhea Basha as Cathy Freeman takes us on a sprint down memory lane, from school sneakers to gold medal glory, as she transforms into a national treasure. It's a lovely inclusion that tugs at the heartstrings, thanks to Rhea's gorgeous tone. Rounding out the sports stars lineup, Hannah Macri and Zara Lassey take a splash in the past as they share a sweet duet as Olympic swimmers Fanny Durack and Mina Wylie in 'The Water is Where'. It’s a tender moment in the show, adding another layer to the historical range of stories. One of the most fun moments of the show comes from Meg Kiddle, Fiona Kennedy, Deidre Grace, and Sherryl-Lee Secomb taking the stage as the Supreme Court Justices ('Order in the Court'). Their number is playful, rhythmic, and wonderfully connected, blending entertainment with a clever commentary on the judicial system. Hannah Davies gives Mary Magdalene a musical makeover that is fresh and unexpected, with a Southern Belle folk style in 'The Only Girl at the Table' and a toe-tapping rhythm that makes the number an instant crowd-pleaser. Samantha McLaughlin truly stands out as Julia Gillard in 'Not Now, Not Ever'. They have fully embraced the role and the nuances that define Gillard’s dry public composure, right down to those strong diphthongs. Sam finds the humour without undercutting the gravity of the moment, allowing the audience to appreciate the challenges Gillard faced in office while honouring her leadership, gender, and resilience against adversity. Della Days brings a watchful intelligence to Eleanor Roosevelt in 'Ladies of the Press', capturing a woman who knows exactly how to work a room without needing to shout over it. The number focuses on a specific turning point, showing Eleanor not just as a First Lady, but as someone actively shaping the conversation. Laura Fois is magnetic in her portrayal of the iconic artist Frida Kahlo. Her performance transcends mere imitation, breathing life into the complex character, who is celebrated for her striking artwork and vibrant personality. Accompanied by the melodies of Spanish guitar, traditional rhythms, and lyrical language, it transports the audience to the heart of Mexico. Laura's impressive vocal control delivers each note with deep feeling and holds our attention with complete ease. Rowena Orcullo Ryan’s portrayal of Hau Li, Mulan's mother, gives space to a quieter kind of strength. Her performance showcases her soaring vocal abilities through a beautifully crafted interpretation. Through this character, we witness the (often-unseen) struggles and sacrifices that mothers endure in their efforts to support and protect their children. Jeanne Reynolds as Janet Armstrong offers another angle, representing the wife standing in the shadows of Neil Armstrong, and a mother dealing with the heartache of losing a child. Her story 'One Step Closer' reminds us of the women whose lives are shaped around famous men and historic moments. It provides a grounded domestic counterpoint to the more public-facing icons in the show. Led by Musical Director Nate Stevenson, the five-member band is one of the production’s strongest assets, moving confidently through folk, blues, soul, rock, ballad, and musical theatre styles. The score itself by Carmel Dean is strongest lyrically, with many songs telling each woman’s story quickly and passionately. While not every melody feels equally memorable, the cast and band squeeze every last drop out of the material. Sure, some lyrics are as cheesy as a pizza, but that suits the style and spirit of the show. They are not trying to be cold, aloof, or subtle about its message. It is here to make a point. Visually, the production supports the song cycle format well. The projections are useful, helping introduce each woman and quickly orient the audience as the show moves from one figure to the next. In a production that covers so much historical ground, those visual aids are helpful (but easier to read when not in cursive). The costumes are not overdone, giving enough visual suggestion without becoming too literal or distracting. There is a mix of microphone styles used throughout the show, and overall the sound supports the wide variety of styles well. With a cast this large and a score that shifts so often, there is a lot to balance, and the production handles that scope well. The grand finale, 'We Rise', gathers the company together with a strong sense of purpose and celebration. It is the kind of ending that leaves the audience feeling energised, connected, and ready to research at least three women that they somehow never learned about properly in school. This could have felt like a parade of historical figures, but the cast brilliantly brings out the person inside each portrait. Footlights crafts a lively tribute to those women who made history by refusing to disappear. After all, well-behaved women seldom make history.

Georgy Girl: The Seekers Musical Presented by: On the Boards Theatre Company Director/Set Designer: Lyn Pelgrave Musical Director/Conductor: Robert Clark Choreographer: Sarah Russo-Cooper Lighting Designer: Tom Dodds Sound Designer: Josh Cathcart Production/Stage Manager/Marketing: Susan Fenn Photography: Aylish Tann - Artist Focused Get ready for a nostalgic, tuneful trip back to the 1960s. Georgy Girl: The Seekers Musical walks into Brisbane with big hair, melodious moments, and swinging tunes! This show has the kind of wholesome charm that had me swaying in my seat and smiling like I’d been handed a hot Milo, a weighted blanket and a little pocket of peace from another decade. Presented by On the Boards Theatre Company at the Twelfth Night Theatre, Georgy Girl follows the rise, success, breakup and reunion of The Seekers, with Judith Durham at the emotional centre of the story. With book by Patrick Edgeworth, the show moves from early local gigs to jet-setting international fame, weaving public triumphs with Judith’s private struggles around homesickness, self-image, heartbreak, tour exhaustion, and career identity. Directed by Lyn Pelgrave, this production feels like a musical scrapbook come to life... Like you a flicking through a family photo album while your parents’ old records play in the next room. It understands that The Seekers’ appeal was never about flashiness. It was about sincerity, musical clarity and four people standing together, making their music sound effortless, even when it absolutely was not. The audience was invested from the start, no convincing necessary! Whenever a familiar song began, you could feel the recognition ripple around the room. I overheard whispers like, “She looks so like her,” and “I have to keep reminding myself that I’m not listening to the actual Seekers.” And I definitely agree. The production gets wonderfully close to that clean, bell-like sound without slipping into tribute-act territory. As Judith Durham, Kiana Tann gives the show its clearest emotional pull. From the moment I heard her as young Judith, I was in awe. Her tone is pure and beautifully suited to Durham’s sound, with a soaring range, superb pitch control, and enough power to sit above the group while still blending into those famous harmonies. Tann captures Judith’s sweetness, introversion, and wholesome quality without turning her into a porcelain doll. There is softness, but there is spine too. Beneath it all, she remains "just a girl from Balwyn" attempting to make sense of the whirlwind of success surrounding her. The line “When I sing, nothing worries me” sums up Judith’s bond with music beautifully. Singing becomes her anchor in a life moving rapidly. Georgy Girl shows the tug-of-war between public triumph and private fatigue, and the most moving thread is watching Judith find comfort in her bandmates and certainty through her voice. ‘Basin Street Blues’ introduces Kiana beautifully, ‘The Olive Tree’ gives her space for gorgeous solo control and emotional stillness, and ‘I’ll Never Find Another You’ carries heartbreak with restraint. No big soppy dramatics. Just the sting, and that purity in her tone. Also, her Act II red sequinned look for ‘Mamma’s Got The Blues’ was such a moment. A full sultry goddess arrival, with jazz soul to spare. The four central performers have very sweet chemistry. Kristian Scott as Athol, Liam Waldock as Bruce, Simon Chamberlain as Keith and Kiana Tann as Judith create a quartet dynamic that feels warm and familiar, like a fuzzy jumper knitted by your nan. The line “We’ve been doing this for four years; it was supposed to be ten weeks!” gets a chuckle because it captures the madness of their rise. Imagine setting out on a quick musical side quest, only to become internationally famous! Kristian Scott has heart and soul as Athol, with his trusty double bass always tagging along like a loyal sidekick. I respect the commitment to hauling that beast of an instrument all around the stage! Liam Waldock brings a gentle, boy-next-door warmth to Bruce and nails those tricky middle harmonies, while Simon Chamberlain struts in with Keith’s cheeky ladies’ man charm and strong tenor sound, adding extra sparkle to the group. Narrating the story, Geoffrey Winter sashays onto the scene as Ron Edgeworth, popping up from just about everywhere throughout the show. He has a suave but dorky quality (somewhere in the Rupert Everett neighbourhood), which I mean as a total compliment. His commentary guides the story with verve, and his duet with Judith, ‘I Remember’, is so beautifully sung and illuminated that it seems as if even the spotlights are rooting for them! Timothy Aaron Cooper makes a strong impression as John Ashby, Judith’s first love and the guy who teaches her what heartbreak feels like, all while serenading us with his golden pipes. Samantha Paterson brings sparkle as Judith’s devoted sister Beverley, leading a dazzling second-act boost with ‘Keep A Dream In Your Pocket’. Jacob Bentley Ballard and the ensemble round out the world with plenty of featured character work, helping the production bounce through changing eras, venues and emotional chapters. Sarah Russo-Cooper’s choreography embraces the 1960s with playful energy. ‘I’m Into Something Good’ kicks Act II into gear, while the ‘I Know A Place/Downtown’ mashup brings sunniness to the group’s arrival in grey London town. Geoffrey Winter gets a playful feature in ‘Get Me To The Church On Time’, while ‘Georgy Girl’ closes both Acts as the ear-worm that will follow you home. Under Robert Clark’s musical direction, the excellent 12-piece orchestra gives the show the kind of richness and warmth only live music can bring, especially with more than 30 songs packed into the score! The boogie-woogie piano work is a treat, and the overall sound is bright, folksy and full. Those famous harmonies come through clearly, carrying the familiar Seekers sound with crisp, clean precision. In ‘The Carnival Is Over’, the a-cappella singing strips everything back for a tender moment, letting the bare voices do the talking. ‘Walk With Me’ shifts the mood again, with hauntingly beautiful off-stage vocals giving the Vietnam-era material a ghostly, reflective quality. Performed by the full company and children’s community choirs standing in the aisles, ‘I Am Australian’ spills out beyond the stage and wraps itself around the room. It gives the finale a sense of shared memory rather than simple sentiment, and knowing Bruce Woodley wrote the song adds another little emotional kick to the ribs. During the final stretch, I had a lump in my throat. The story moves quickly through years, cities and career milestones, as bio-musicals tend to do, so the visual world has to do a lot of quick storytelling. Lyn Pelgrave’s two-level set supports it well, giving the cast clear spaces to shift between performance, memory and narration. The beige, rusty brown, white and black palette fits the era without screaming “'60s theme party,” and the blocking uses the levels suitably. Sarah Bowerman’s costumes, paired with Niamh Cadoo-Dagley’s big styled wigs, place us firmly in the era with bright colours, go-go boots and plenty of handmade-style dresses for Judith. Her (many) costume changes help track her journey through different stages of fame and selfhood, while the on-stage ‘Georgy Girl’ changes bring a burst of fun. Josh Cathcart’s sound design is superbly balanced, with the band, singers and ensemble sitting together cleanly. And for a show built on harmony, that matters enormously. Tom Dodds’ lighting neatly separates concert numbers, intimate scenes and memory-like moments, so the show can shift from public spotlight to private moments without getting muddy. One extra thrill of the night: the real Keith Potger was in attendance. No pressure, cast. Just one of the actual Seekers was watching on! What I enjoy most about this production is that it does not rely only on recognition. It reminds us why these songs endure. The Seekers’ music is hopeful, gentle, and extremely singable, with a sincerity that knows how to move you. Georgy Girl: The Seekers Musical taps into the strange magic of songs that live in our country’s collective memory. By the end, the sold-out house was grinning, grooving, and maybe getting a little misty-eyed. I am not naming names...

Title: Anastasia – Child Cast (Little Anastasia/Alexei Romanov) Presented By: Crossroads Live, Opera Australia & Stage Entertainment Genre: Musical Synopsis: Inspired by the beloved film, Anastasia transports audiences from the twilight of the Russian Empire to the glamour of Paris in the 1920s. A brave young woman sets out to uncover the mystery of her past, pursued by a relentless Soviet officer while travelling alongside a charming conman and a lovable ex-aristocrat. Audition Date: Saturday 11 July – Sunday 12 July 2026 Audition Self-Tape Due (if applicable): Dance video submission required with application. Audition Requirements: Complete online application. Prepare the provided audition song and dialogue from the audition pack. Learn the entire verse of the music excerpt (not just Little Anastasia's line). Dialogue must be performed in a General American accent. Submit the required pre-recorded dance audition using the choreography provided. Bring: CV and Headshot Initial audition consists of group singing. Selected performers may remain for scene work on the same day. Final callbacks (if invited) will take place the following day and include singing, scene work and the submitted dance combination. Audition Registration: Applications must be submitted via the official online application link provided in the audition pack. Audition Pack: Available here Performance Dates:16 September – 25 October 2026 Performance Location: Queensland Performing Arts Centre (QPAC), Brisbane Rehearsal Dates: Contract commences approximately early September 2026. Brisbane rehearsals commence mid-September 2026. Warnings: Not all applicants will receive an audition. Parts of the audition process may be filmed for casting, marketing and publicity (participants will be given the opportunity to opt in or out if applicable). Applicants must live within approximately 45 minutes' travel of QPAC (proof of address required at auditions). Performer Age: Must be 10 years old by 9 September 2026. Height restriction: 145 cm maximum. Other information: Applications close Sunday 28 June 2026 at 11:59pm AEST. The production welcomes performers from culturally and linguistically diverse backgrounds, performers with disabilities, and performers of all gender identities and body types. Successful child performers will receive training from the Associate Director, Musical Director and Resident Choreographer and will rehearse alongside the adult company. Available Roles/Character Breakdown: Little Anastasia - (Female presenting, playing age 7–9) The spirited, courageous and kind-hearted youngest daughter of the Tsar of Russia, devastated when her beloved grandmother leaves Russia. Requires a strong mover, a beautiful soprano voice, and a confident General American accent. Alexei Romanov - the Tsar's energetic young son and heir, who lives with haemophilia. Maximum height: 145 cm.

Title: Sea of Glass: A Voyage Aboard The Ecclesia Presented By: Storytellers Co. Genre: Action Adventure Musical Synopsis: Sea of Glass: A Voyage Aboard The Ecclesia is an original action adventure musical set in a historical and fantastical world of pirates, sirens, corrupt colonials and cursed civilians. An unlikely crew are thrown together on an epic quest to defeat darkness, the law and the curse of the beast. Audition Date: Saturday 27 June 2026 Audition Time: 1:00pm – 5:30pm Audition Location and Address: Grange Hall187 Wilston Road, Newmarket QLD 4051 Audition Requirements: Rather than a traditional audition, performers will participate in a relaxed casting workshop exploring songs and script excerpts from this brand-new musical. As the work is still in development, this workshop is designed to introduce performers to the material in a collaborative environment. Prepare one minute of suggested audition song for each principal character from the audition materials. To complete your registration, email the following to hello@storytellersco.com.au by 25 June 2026: Full name Chosen accompaniment track The start and finish timestamps of your chosen one-minute excerpt Pirates and Sirens do not need to provide an accompaniment track, as it will be prepared for the audition day. Audition Pack: Available via the Storytellers Co. auditions page. Performance Dates: 3–7 March 2027 Rehearsal Dates: 2026–2027 rehearsal schedule (dates to be provided to successful cast members) Warnings: All acting roles are voluntary (unpaid). Performer Age: 10+ Creative Team: Writer/Director: Bethany Carlos Songs: Bethany Carlos Music: Ryan Kelly & Mathew Borja Fight Director: Gabriel Blase Stage Designer: Siena Santos Dance Choreographer: Ella Lewis Costume Designer: Gwen Malone Production Website: https://www.storytellersco.com.au/auditions Available Roles/Character Breakdown: Peter – First Mate (Male, 20–35) - Based on the disciple Peter. Passionate, emotional, loyal husband, natural leader and skilled fighter. Essence: Alexander Hamilton (Hamilton) Audition Song: For Forever (Dear Evan Hansen) James – Master at Arms (Male, 30–40) - Based on the disciple James. Stubborn, street-smart, loyal, charming and comedic. Essence: The Artful Dodger (Oliver!) Audition Song: Go the Distance (Hercules) Jonathan – Second Mate (Male, 16–25) - Based on the disciple John. Poetic, thoughtful, emotionally intelligent and curious. Essence: Marius (Les Misérables) Audition Song: Empty Chairs at Empty Tables (Les Misérables) Andie – Navigator (Female, 18–30) - Based on Andrew from the Bible. Adventurous, resilient, playful, loyal and independent. Essence: Éponine (Les Misérables) Audition Song: How Far I'll Go (Moana) Jude – Purser (Male, 20–35) - Based on Judas. Ambitious, analytical, perceptive and prideful. Essence: Aaron Burr (Hamilton) Audition Song: Non-Stop (Aaron Burr vocals – first minute) (Hamilton) Jo (Female, 20–35) - Peter's wife. Brave, whimsical, perceptive, resourceful and independent. Essence: Elizabeth Schuyler (Hamilton) Audition Songs (choose one): In My Own Little Corner (Cinderella) How Far I'll Go (Moana) A Whole New World (Aladdin) Captain Caiaphas (Male, 30–50) - Captain of the Pharisea. Based on the High Priest Caiaphas. Strategic, ambitious, self-righteous and politically driven. Essence: Javert (Les Misérables) or Claude Frollo (The Hunchback of Notre Dame) Audition Song: Non-Stop (Aaron Burr vocals) (Hamilton) Priscilla (Female, 30–40) - Wife of Caiaphas. Sophisticated, intelligent, persuasive and politically minded. Essence: Angelica Schuyler (Hamilton) Audition Song: That Would Be Enough (Hamilton) The Governor (Male, 40–65) - Governor of Torso. Flamboyant, ambitious, vain and theatrical. Essence: Monsieur André (The Phantom of the Opera) Audition Song: Prima Donna (first 1:16) (The Phantom of the Opera) Charlotte (Female, 40–65) - Jude's mother and director of the Festival Play. Overbearing, outspoken and melodramatic. Essence: Carlotta (The Phantom of the Opera) Audition Song: Poor Unfortunate Souls (The Little Mermaid) King Grievance (Male, 40–65) - Leader of Buccaneer Island. A ruthless pirate king who is greedy, charismatic and commanding. Essence: Bill Sykes (Oliver!) or Scar (The Lion King) Audition Song: Be Prepared (Live Action Version) (The Lion King) Magdala Mermaid / Marianne (Female, 25–35) - Based on Mary Magdalene. Begins as a powerful, volatile mermaid before transforming into Marianne. Essence: Fantine (Les Misérables) or Elphaba (Wicked) Audition Song (choose one): I Dreamed a Dream (Les Misérables) I'm Not That Girl (Wicked) Garrick (Male, 10–16) Dock boy. Cheeky, mischievous and resourceful. Essence: The Artful Dodger (Oliver!) Audition Song: Consider Yourself (Oliver!) Pirates (Male, 18–50) Roles: Bones, Grimjaw, Reaver, Corsair, Ashen All are pirates from Buccaneer Island who also double as Colonial Soldiers. Audition Song: Wellerman – Nathan Evans (entire song). Storytellers Co. will provide the backing track on the day. Sirens (Female, 18–35) Roles: Jade, Ruby, Sapphire, Amber, Opal Each performer also doubles as a Lady Dancer, Colonial Soldier, Wench and Festival Performer. Audition Songs: A Dream Is a Wish Your Heart Makes (Cinderella) orOnce Upon a Dream (Sleeping Beauty) Storytellers Co. will provide the backing tracks on the day. Featured Ensemble Female (10–17) or Male (10–17) Audition Song: How Far I'll Go (Moana)

Title: O Woe Is Me Presented By: Tamborine Mountain Little Theatre Genre: Comedy / Shakespeare Adaptation Synopsis: O Woe Is Me is a bold, fast-paced comedy where some of Shakespeare's most famous characters collide in a world where tragedy, romance and complete absurdity exist side by side. Presiding over the chaos are three opinionated witches with absolutely no respect for the original script. As scenes from Macbeth, Othello, Romeo & Juliet and Hamlet unravel in unexpected ways, Shakespeare finds himself challenged by the very characters he created. Combining original Shakespearean text with contemporary humour, physical theatre, music and outrageous comedy, O Woe Is Me celebrates the Bard while playfully reimagining his greatest works. Audition Date: Monday 6 July 2026 Audition Time: 7:00pm Audition Location and Address: Zamia Theatre, 22 Main Street, Tamborine Mountain, QLD 4272, Australia Audition Requirements: Prepare the audition scenes for your chosen character(s) using the script provided on the TMLT website. Audition page references: First Witch: pp. 5, 9–15, 39–41 Second Witch: pp. 5, 9–15, 39–41 Third Witch: pp. 5, 9–15, 39–41 Lady Macbeth: pp. 7–8, 11–16 Macbeth: pp. 8, 11–15 Othello: pp. 26–27, 32–33 Desdemona: pp. 26–27, 32–33, 38–39 Romeo: pp. 20–22 Juliet: pp. 20–22, 24 Hamlet: pp. 43–45 Ophelia: pp. 44–46 Bear: pp. 11–15 (physical acting audition) Audition Registration: Contact director Caitlin Yeager for further information via caityea@gmail.com. Audition Pack: Script available to download Performance Dates: 16–31 October 2026 Performance Location: Zamia Theatre, Tamborine Mountain Production Website: https://www.tmlittletheatre.com.au/auditions Other Information: The role of Shakespeare has already been cast. The roles of Romeo/Hamlet may be played by the same actor. The roles of Macbeth/Othello may also be doubled. Available Roles/Character Breakdown: First Witch Second Witch Third Witch Lady Macbeth Macbeth Othello Desdemona Romeo Juliet Hamlet Ophelia Bear

Presented by Thundering Productions Anywhere Festival – Paint Factory, Yeronga Written by Kate Paraskevos Directed by Mikayla Maree Melo The Heartbreak Club had everything I enjoy in a dark comedy: a terrible man, women comparing stories, and group therapy taking a very illegal turn. Presented by Thundering Productions as part of Anywhere Festival, this new play by Gold Coast playwright Kate Paraskevos takes the bad-ex revenge fantasy of The Other Woman and John Tucker Must Die and lets it spiral from “he is a horrible boyfriend” to “so… are we killing him?” That premise is instantly juicy. In the depths of a suburban basement, four women gather after being emotionally chewed up and spat out by the same ex-boyfriend. And he absolutely earned the nickname “Rob the Knob.” He is described as a chronic liar, cheater, narcissist, blackmailer, and predator. He hides cruelty inside charm and insults inside compliments. Rob is not physically on stage, but is was absolutely in the room, existing through stories, memories, and the way each woman has been altered by him. That makes him feel less like a man and more like a haunting. Veronica’s basement is the perfect setting for this particular brand of emotional collapse. With storage boxes, pink couch, washing machine, and household clutter, it is an ordinary family space hijacked by heartbreak and poor impulse control. These women always seem one moment away from hiding evidence beside the Christmas decorations or being interrupted by Veronica's mum asking if anyone wants tea. The Heartbreak Club begins as a place to heal (or at least to compare emotional damage). Veronica, Tess, and Neve have already built their basement bunker of shared Rob trauma when Claudia, freshly dumped and emotionally bruised, accepts a mysterious invitation to join them. As Claudia adds her own Rob-related horror stories to the pile, the mood shifts from support group to vigilante committee. So, naturally, the group lands on the only reasonable next step. Rob “the Knob” must die. It is all very “he had it coming” energy if the Cell Block Tango ladies had a whiteboard, more snacks, and less choreography. Written by a woman (of course), Kate Paraskevos' script is a strong new piece of writing. It takes a familiar revenge-comedy premise and gives it more bite, folly, and female rage. It is funny, but it also has a bruised tenderness underneath it. The script works so well because it understands that heartbreak is rarely just heartbreak. Sometimes it is embarrassment, fury, grief, confusion, and the horrifying realisation that you let someone rewire your confidence, your instincts, your interests, and your sense of self. One of the lines that stayed with me was, “Rob’s interests became my interests,” because it says so much with so little. It conveys the dreadful experience of losing yourself to someone who never deserved such access to you, along with the annoying recognition of how much of yourself was altered without your consent. What makes the play work so well is that it is never really about Rob. He is the shadow over the play, but the real story is the friendships formed in the crater he left behind. It is about the strange, giddy relief of finding people who understand the exact shape of your hurt. These women recognise their pain in each other, not as competition, but as proof. Proof they are not dramatic, not stupid, not alone. That validation comes with a spinning moral compass attached. One minute they are sliding from “he deserves consequences” into “so, hypothetically, how hard is it to poison a protein shake?” The Heartbreak Club finds the humor in that slide, then pushes it into murkier territory, asking where the line sits between justice, revenge, and wanting someone gone for good. Each of the four women brings a different flavour of Rob-related damage to the club. Candice Jean gives Veronica a grounded, brooding authority as the mastermind of the club. She is still, watchful, and organised, with the unnerving calm of someone who has a plan. In the open-space venue, I did need a little more vocal projection from her at times, as some of her lines were lost. Even so, her restraint suits Veronica well, heightening the character's resolve and concealed past. Sophie Lawson plays Tess as the club’s sharp, resident tech sleuth. Every revenge group needs someone who can dig online, connect the dots, and collect the receipts. Tess has the practicality of a woman who could turn emotional damage into a full spreadsheet if she wanted. Lawson keeps her grounded and purposeful, helping the group’s increasingly terrible ideas move with alarming efficiency, even when that direction is legally unwise. Cassie Baan is an absolute scene-stealer as Neve, the club’s chaos goblin. She operates at an energy level that suggests her inside thoughts have never once stayed inside. Chatty, unfiltered, and overly friendly, she seems like she's walked straight in from a Melissa McCarthy comedy (then convinces you to help hide a body). Baan’s comic timing is brilliant, but beneath Neve’s absurdity sits bitterness, hurt, and a very specific kind of post-breakup madness. Samantha McClurg portrays Claudia with an especially intriguing emotional arc. Claudia arrives bruised, hesitant, and still close enough to Rob’s damage to feel the pull of it. She is the sweet and sensitive newcomer, but she is not simple. Through Claudia, the play explores the messy overlap of love, harm, longing, shame, and the horrible little voice that still wonders if you were the problem. Claudia could have just been the audience’s entry point into the plot, but McClurg makes her one of the most compelling parts of the story. Then there is Jack Lovett as Elliot, Veronica’s brother and fellow adult still living at home. His dynamic with Veronica has that sibling rhythm of teasing, eye-rolling, and knowing exactly how to be supportive while still being deeply annoying. They mock each other like professionals, but the affection underneath is clear, giving the play a lovely bit of warmth among all the murder chat. Lovett also brings a sweet awkwardness to Elliot’s crush on Claudia, especially while Neve makes it extremely clear she would like to be considered for the role of Elliot's love interest instead. Director Mikayla Maree Melo shapes the production with a strong sense of momentum and tonal balance. The play juggles heartbreak, comedy, paranoia, moral debate, and a touch of whodunnit, and Melo keeps it sharp and cohesive. As secrets unravel and suspicion sparks among the women, the mood tips into (as Shaggy once said) "it wasn’t me” territory, with red herrings, rapidly deteriorating trust, and an ending that gave me exactly the satisfaction I wanted without flattening the thrill of getting there. The venue did its own little lighting cues. At Paint Factory, Yeronga, the early part of the show was still exposed to the natural light around us, which meant the actors could see us in the audience for much of the first act. That could have been distracting, but it actually felt fitting, as if we had been pulled into the cheeky basement meeting too. As the light outside darkened, the atmosphere shifted with it. The stage lighting became harsher and more focused, and the play’s darker instincts came forward at exactly the right time. That said, the venue did bring its own practical hurdles. Sound from nearby performances will always drift in and pull focus at The Paint Factory, and some dialogue needed a little more volume to carry across the open space. But the bones of the production were strong, and in a tighter theatre or comedy club, this piece could really fly. I could also see a future staging having a lot of fun with Tess’s digital detective work, bringing in text messages, screenshots, maps, and photos as projections to heighten the experience. I mean, if you are going to make a murder plan, you may as well make it multimedia, right? At 90 minutes with a short interval, the show held its shape well. It never felt like it was stretching one joke past its breaking point. The comedy kept landing well, but the real sting came from the tenderness underneath. The Heartbreak Club was dark comedy, absolutely, but it was also catharsis. A play that understood how one person can walk through multiple lives like a wrecking ball (and enjoy doing it), and the strange relief of finding people who help you feel less alone among the same wreckage. The Heartbreak Club is funny, sharp, thrilling, and emotionally satisfying. It is a strong new Australian script with a fantastic premise, a distinct voice, and characters I would happily watch again. If you have ever had a shitty ex like Rob "the Knob", this one may feel a little too familiar. And if you have not? Lucky you. Keep it that way.

Title: When the Wind Blew Presented By: Paula-Mary Camilleri in association with Eli J Ball & Shine Performing Arts Academy Genre: Family-Friendly Original Australian Musical Synopsis: When the Wind Blew is a family-friendly musical set in the vast and vibrant Australian bush. Bursting with heart, humour and unforgettable songs, this uplifting production invites audiences of all ages on a journey about courage, friendship and finding where you belong. The story follows Hazel, a young sugar glider terrified of taking her first glide. When a fierce storm violently shakes her from her tree and separates her from her family, Hazel finds herself lost and alone in an unfamiliar world. With no choice but to move forward, she must discover a bravery she never thought she had in order to find her way home. Along the way, Hazel meets an eclectic group of companions: Ziggy, a cautious echidna; Peanut, a gentle koala; and Arthur, a nervous spider. Guided by Coco, a wise wallaby, they travel across the bush to seek guidance from Madam Virginiana, a mystical possum whose tea-leaf riddles challenge each character’s understanding of home and belonging. But danger lurks in the shadows. Diesel, a cunning and vengeful dingo, relentlessly pursues them with the help of his eerie accomplices. As the journey grows more perilous, the group learns that home isn’t just a place—it’s the people who walk beside you. Written by Paula-Mary Camilleri and Eli J Ball, When the Wind Blew is a joyful, moving musical celebrating bravery, connection and the courage to leap, even when you’re afraid. Audition Date: Sunday 12 July 2026 Audition Time: Children's Ensemble - 9AM -10AM Hazel Auditions - 10AM - 11AM Adult Auditions (Ensemble & Leads) - 12PM - 2PM Callbacks - 3PM - 4PM Audition Location and Address: St Benedict's College, Mango Hill, Queensland Audition Self-Tape Due: 5PM, Saturday 11 July 2026 Audition Requirements: Children's Ensemble Audition: Dance call Learn and perform a song from the show Cold read from the script Wear appropriate dance attire and footwear Hazel Audition: Must attend Children's Ensemble session Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Cold read from the script Adult Auditions (Ensemble & Leads): Dance call Tap call (if experienced) Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Possible cold read from the script Wear appropriate dance attire and footwear Callbacks: Script readings Learn and perform material from the show Online Auditions: Submit two contrasting 1-minute or 32-bar musical theatre songs Include headshot and video link Email submissions to info@shineperformingartsacademy.com.au Video should be filmed waist-up with clearly audible vocals Audition Registration: Via Shine Performing Arts Academy Audition Pack: When the Wind Blew Audition Pack Performance Dates: 18 - 20 December 2026 Performance Times: Friday – 7PM Saturday – 2PM & 7PM Sunday – 2PM Performance Location: Redcliffe Entertainment Centre, Downs Street, Redcliffe, Queensland, 4020 Rehearsal Dates: Read Through - Sunday 19 July 2026 Costumes/Photos - Tuesday 21 July 2026 and Sunday 2 August 2026 Music & Dance Rehearsals - Most Tuesdays, Thursdays and Saturdays from August 2026 Tech Week - Tuesday 15 December – Thursday 17 December 2026 Rehearsal Times: Costumes/Photos - 5PM - 8PM Tuesdays & Thursdays - 7PM - 9PM Saturdays - 1PM - 4PM Tech Week - 5PM - 10PM Rehearsal Location: St Benedict's College, Mango Hill Tech Week - Redcliffe Entertainment Centre Warnings: Theatrical haze Strobe lighting effects Auditionees may be photographed and recorded during auditions and callbacks Performer Age: Hazel: 10–16 years (playing approximately 8 years old) Children's Ensemble: 10–16 years Adult Principal, Featured and Ensemble Roles: 18+ Creative Team: Producers - Paula-Mary Camilleri & Eli J Ball Director - Paula-Mary Camilleri Choreographer & Musical Director - Eli J Ball Casting Consultant - Teagan Fudge Production Manager - James Reid Orchestrations - Eli J Ball Additional Piano/Vocal Arrangements & Score Preparation - Benjamin Heintz Production Website: Shine Performing Arts - When the Wind Blew Other information: This production celebrates the diversity of Queensland’s performing arts community and encourages performers of all backgrounds, experiences and abilities to audition. Applications from culturally and linguistically diverse performers and performers living with disability are strongly encouraged. All cast members aged 18+ must possess or obtain a current Blue Card. Cast members must comply with Shine Performing Arts Academy's Child Safety Action Plan, Code of Conduct and Media Consent policies. The production will be professionally recorded in audio and visual formats. Participation is unpaid. There is no participation fee and no performer compensation. Auditionees should be available for the duration of their audition session. Additional material may be requested during auditions or callbacks. Call time for performances is 90 minutes prior to curtain up. Available Roles/Character Breakdown: Hazel - Female-identifying, 10–16 years (playing approximately 8 years old) | Soprano (belt to Eb5). A young sugar glider who has a deep fear of gliding. Strong actor and vocalist required. Arthur - Male-identifying, 20s–30s | Tenor. A nerdy, quirky and uncertain spider on a journey of self-discovery. Brielle - Male or Female, 18–30 years | Tenor or Mezzo. A sly and mischievous goanna with a talent for trouble. Curly - Male or Female, 18–30 years | Tenor or Mezzo. A dim-witted curlew with a knack for getting into trouble. Coco - Female-identifying, 18+ | Soprano. A wise and warm-hearted wallaby who serves as narrator and guide. Hazel's Mum - Female-identifying, 25+ | Soprano. A caring and devoted parent. Hazel's Dad - Male-identifying, 25+ | Baritone/Tenor. A loving but firm parent who guides Hazel. Stewart / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Flamboyant tiger quoll. Doubles as Passerby and Wombat 2. Joyce / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Owner of the Gum Leaf Cafe. Doubles as Mother Platypus. Peter / Ensemble - Male-identifying, 18+ | Baritone. Co-owner of the Gum Leaf Cafe. Doubles as Ernie the Emu and Wombat 1. Adventurer 2 / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Doubles as Emu 1 and Galah 1. Mal / Ensemble - Male-identifying, 18+ | Tenor. Flamboyant magpie. Adventurer 1 / Ensemble - Male-identifying, 18+| Tenor. Human explorer. Doubles as Kevin the Kangaroo. Lenore / Ensemble - Female-identifying, 18+ | Soprano. A parrot with a sore claw. Doubles as Mother Skink. Belvedere / Ensemble - Male-identifying, 18+ | Tenor. Doubles as Kookaburra. Parrot / Ensemble - Female-identifying, 18+ | Soprano. Doubles as Galah 3. News Reporter / Ensemble - Female-identifying, 18+ } Mezzo-Soprano. Doubles as Galah 2 and Emu 2. Kangaroo / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Doubles within the ensemble. Milly / Ensemble - Female-identifying, 18+ _ Mezzo-Soprano. A flirtatious red wattle bird. Tilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Lilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Myna Bird / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Father of Tommy Tweets. Lorikeet / Ensemble - Male-identifying, 18+ | Baritone/Tenor. An energetic lorikeet. Ensemble/Dancers/Swings - All genders, 18+. Triple-threat performers playing multiple ensemble roles. Strong technical dance skills, including Broadway-style tap, preferred. Brenda / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A sassy dunnart. Sophie / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A nosy owl. Sophie S / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A kind lizard. Tommy Tweets / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A pompous myna bird. Oliver / Children's Ensemble - Male-identifying, 10–16 years | Tenor. An energetic lorikeet. Liam / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A nerdy platypus.