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Title: Love Letters Presented By: Staged Theatre Company Genre: Contemporary Play / Drama / Romance Synopsis: Love Letters is a two-character play by A. R. Gurney that explores a lifetime of correspondence between two friends, reflecting on love, loss, and the moments that shape a life shared through letters. Audition Date: February 18th & 19th, 2026 Audition Time: 7PM Wednesday 7:30PM Thursday Audition Location and Address: St. Mark’s Church Hall, Buderim, Sunshine Coast, QLD Audition Requirements: Scripts will be available at auditions Bring a headshot and CV. Be ready to read scenes with another actor. Be open to direction and character exploration during audition. Audition Registration: Register through the Staged Theatre website contact form or by emailing the company Performance Dates: April 17th - 25th, 2026 Performance Location: Black Box Theatre, Nambour Performer Age : Playing age 50s Production Website: Staged Theatre Company - Love Letters Other information: Staged is committed to innovative theatre and community participation on the Sunshine Coast; auditionees are encouraged to join the company mailing list for further opportunities. Available Roles/Character Breakdown: Andy: Male - reflective, witty correspondent across decades Melissa: Female - poignant and sharp voice in the correspondence

Title: The Magic Toyshop – BCYB 2026 Winter Season Presented By: Brisbane City Youth Ballet Genre: Ballet / Dance Synopsis: A season of joy, colour and magic brought to life through classical ballet and storytelling, presented as part of BCYB’s Winter Season. Performers will be part of an ensemble bringing to stage a family-friendly classic with strong choreography and theatrical flair. Audition Date: February 15th, 2026 Audition Location and Address: BCYB Studios, Millway St, Kedron QLD 4031, Australia Audition Requirements: Register via the Typeform audition form. Prepare classical ballet technique appropriate to level (barre, centre, allegro). Attend in person or submit a video link through the form by the closing date. Audition Registration: BCYB Registration Form Performance Dates: July 10th, 2026 - January 12th, 2027 Performance Location: Brisbane Powerhouse, 119 Lamington Street, New Farm, Queensland Rehearsal Dates: Main Company: July 4 - July 12 Junior Company: July 6 - July 12 Petite Company: July 6 - July 12 Rehearsal Location: BCYB Studios, Millway St, Kedron QLD Warnings: Standard ballet performance requirements apply. Video auditions may be accepted. Performer Age: Seeking dancers aged 7+ Creative Team: BCYB Artistic and ballet masters team, including Janine McGrath (Artistic Director & Founder) and others Production Website: Brisbane City Youth Ballet - The Magic Toyshop Auditions Other information: COSTS Main Company - $1300 Junior Company - $1100 Petite Company - $770 A non-refundable 50% deposit of your assigned Company Level (above) is due by FEBRUARY 23 to secure your position. The remaining non-refundable 50% is due by APRIL 6. A compulsory media fee of $220/family and compulsory uniform requirements will be collected through an online payment link also by APRIL 6. External additional costs include shoes, undergarments, makeup, show tickets, show programs, and merchandise. All fees include GST.

Title: Flight! Presented By: Beenleigh Theatre Group Genre: New Musical / Contemporary Musical Theatre Synopsis: Flight! follows a group of seven misremembered figures from aviation history brought together by Amelia Earhart to retell their stories. The musical centres on Sally Ride, NASA’s first female astronaut, who, after her first spaceflight, wrestles with her legacy and purpose. In a liminal space outside of time, these iconic figures explore their achievements and their place in history in an effort to be remembered. Audition Date: Saturday, February 14th, 2026 Audition Time: Timeslots throughout the day – individual audition bookings available. Audition Location and Address: Firestation 101, 101 Limestone Street, Ipswich QLD 4305 Audition Self-Tape Due: Video auditions accepted — due by Friday 13 February 2026, 5:00pm (for those unable to attend in person) Audition Requirements: Register and attend an individual audition. Bring a photo/headshot and CV. Prepare two contrasting contemporary musical theatre songs (no more than 90 seconds each). Attend one dance call (dance is taught on the day). Backing tracks must be sent by 12 February 2026 to; nicholas.hargreaves@beenleightheatregroup.com Auditions will be filmed. Audition Registration: Register for Flight! Auditions here Audition Pack: Flight! Audition Pack Creative Development: As this is the first staging of a new work, a creative development will be held in late April to workshop it. All eight lead roles will be required to participate in an eight-day creative development culminating in a public showcase in association with Ipswich Hatchery. All actors involved in the creative development will receive a small honorarium. 19/25/26 April, 9:30AM - 4PM 27/28/29/30 April & 1 May, 11:30AM - 6PM Showcase - 2 May, 4:30PM Performance Dates: 18th - 26th September, 2026 Performance Times: Fridays - 7:30PM Saturdays - 2PM & 7:30PM Performance Location: Crete St Theatre, Beenleigh QLD Rehearsal Dates: August 31st - September 6th, 2026 Rehearsal Location: Firestation 101 and Crete St Theatre (as scheduled). Warnings: Standard musical theatre content and workshop expectations apply. Performer Age: Playing ages are listed in character breakdowns; actual performer ages flexible unless specified by role. Creative Team: Writer/Composer - Nicholas Hargreaves Director - Timothy Wynn Musical Director - Luke Volker Assistant Director - Brooke Garwell Choreographer - Jennifer B. Ashley Assistant Choreographer - Isabel Kraemer Production Website: Beenleigh Theatre Group – Flight! Other information: Membership with BTG is required before first rehearsal. Available Roles/Character Breakdown: Sally Ride – 20–35, Female (C4–A5) American (California) Accent Amelia Earhart – 25–40, Female (B3–A5) American (General) Accent Leonardo da Vinci – 20–40, Male (E3–G4) British (General) Accent Daedalus – 30–60, Male (Bb2–A4) Bessie Coleman – 20–35, Female (G3–D5) American (Texas) Accent / Auditionees should be aware that the character of Bessie Coleman is African American. Jacques Charles – 30–60, Male (B2–G4) Franz Reichelt – 25–40, Male (D3–F#4) Kongming – 20–45, Male (C3–G4) / Auditionees should be aware that the character of Kongming is Chinese. Ensemble – dynamic performers for additional roles (flexible)

17 Again the Musical – Beenleigh Theatre Group Presented by: Beenleigh Theatre Group Director:  Lachlan Dodd Music Directors:  Ruby Tate and Mark Mirhan Choreographer:  Meggie Ryder Assistant Choreographer:  Kaitlyn Burton Stage Manager:  Biance Riek Lighting Design:  Bryce Delany Sound Design:  Tom O'Driscoll Set Design:  Lachlan Dodd Costume Design:  Lachlan Dodd and Meggie Ryder Photography:  Creative Street and PIF Productions I love when a guilty pleasure film of mine gets the full musical theatre treatment! When I first heard that 17 Again  was being staged by Beenleigh Theatre Group as a musical, my immediate reaction was, “Wait… what?” And then immediately after that, “I need to see this!" Based on the 2009 film 17 Again  (the one with Zac Efron and Matthew Perry), the story follows Mike O’Donnell, a 35-year-old who is magically transformed back into his 17-year-old body. No time travel. No rewinding the clock. Just suddenly back in high school, which honestly sounds like a nightmare, while trying to repair the his neglectful relationships with his wife and children. Under the direction of Lachlan Dodd , with musical direction by Ruby Tate  and Mark Mirhan  and choreography by Meggie Ryder , the creative team transform the film’s fantastical premise into a fun, fast-moving and self-aware stage experience.   The set design is smart and theatrical without overcomplicating things. Three entryways give the stage dimension, one topped with a basketball hoop that becomes both scenic feature and storytelling device from the very first number, “The Star of Kennedy High.” Rolling lockers and a trophy cabinet allow for fluid transitions, while the painted stage establishes the production visually. It all feels cohesive and purpose-built rather than decorative. A few spotlights were off on the night I attended, but honestly it added to the amusement rather than distracting from it.   Greyson Vaughn  as 17-year-old Mike, also known as Mark (excellent cover name), is a brilliant leading man. His physicality is uncannily precise. I would love to know how many times he watched the film in preparation because his mannerisms were spot on. He feels like a Zac Efron/Marty McFly hybrid, bounding around the stage with the chaotic enthusiasm of a true 35-year-old suddenly gifted teenage energy again. Vocally, he is strong and expressive, particularly in “Something So Perfect,” where real emotional sincerity shines through the comedic exterior.   Patrick Lockyer  as 35-year-old Mike provides the emotional anchor. His performance in “Time for Starting,” while unapologetically demolishing a mudcake, is wryly funny and relatable. The marriage struggle sits honestly on him, and the relief in his final scenes feels truly earned rather than exaggerated. Michelle Randall brings warmth to Scarlett with “Love You Till Forever,” revealing lovely emotion that grounds the show’s romantic stakes.   Leah Erskine perfectly captures Maggie’s sulky teenage angst and mortifying embarrassment, and her duet with Greyson, “You Deserve the Best,” becomes a melting vocal moment, even with the script’s awkward unintended-crush undertones. “Gonna Show It to You,” alongside Lachlan Bretherton-Scobie as Stan, embraces its not-so-subtle-innuendo with total commitment, the humour landing just as confidently as their vocals. Wyatt Scrimgeour  as Alex delivers my personal favourite solo of the show, “Losers Don’t Ever Win,” staged from a toilet stall and powered by serious vocal firepower as he wheels himself all around the stage. Clayton Eltis  as Ned Gold fully commits to the character’s theatrical dork energy, and I mean that as the highest compliment. His reaction to seeing Mike young again is completely justified and wonderfully over-the-top. In “Tra La La,” Clayton and Vanessa Chuah’s Principal Masterson strike a perfect balance between heightened absurdity and genuine sweetness, allowing their nerdy courtship to become one of the strongest comedic moments. Vanessa also commands the stage in “Matter of Principle,” delivering a soulful, powerful vocal performance that ranks among the strongest of the show. A special mention must go to Samantha Parker  as the secretary. The lute moment had me crying with laughter for reasons I still cannot fully explain.   Hayley Morris  as Chelsea exudes wholesome girl-next-door charm while still carrying the confident sparkle of a cheerleader, creating a character that feels both approachable and self-assured. The Brittanys, Hannah Elizabeth Grace , Olivia Van Grinsven and Sian Van Blerk , power through “#BrandNewDay” with tight three-part harmonies and fierce commitment. Mic balance in this number was noticeably loud though. The live band, Mark Mirhan, Ruby Tate, Mik Farnsworth-Sempf, Hayley Gravina, Sari Rangiwai and  Dom Nicholson , are incredibly tight. Positioned at the rear of the stage, they bring fantastic energy, with drummer Dom Nicholson absolutely driving the Act One finale home: “The Greatest Prize.”   Meggie Ryder’s choreography sparkles in “Take a Shot,” basketballs and all, and in the salsa-infused “Make the Most of Tonight,” where Tanisha Clarke’s  vocals fuel the intense, high-energy dance sequence. At times, the featured dancers appeared slightly cautious or restrained. The partner work is expansive and dynamic, and I would love to see them fully claim the stage space available to them. The ensemble of eight demonstrate some great character choices, giving group scenes texture and personality. Push it even further and it will truly sparkle. The impact of your collective energy on the overall picture is bigger than you think.   Under the direction of Lachlan Dodd , the show never tips into excess. It is camp, yes, and the script is on-the-nose, but the cast embrace it without irony. Greyson, Clayton, and the Brittanys in particular understand the heightened style: it never feels like they are mocking the material; they are celebrating it! I also love the smaller choices and subtle film nods sprinkled throughout; they did not go unnoticed! There are plenty of blink-and-you-miss-it moments, physical details, and background character beats that reward close attention and add so much texture to the overall picture. Is the music the most unforgettable you will ever hear? Umm.. no. But is it fun? Absolutely! This production does not pretend to be high art. Instead, it embraces the absurdity of its premise while still honouring the emotional beats beneath the surface. It captures the fantastical heart of the story, balances comedy with genuine warmth, and sends the audience out smiling. For fans of the film, it is a nostalgic, high-energy night out. For everyone else, it is two hours of joy, basketballs and belting!   I recommend it wholeheartedly to anyone wanting a genuinely joyful night at the theatre.

Tarzan – The Stage Musical Based on the Disney film The Spotlight Theatrical Company Directed by Stuart Morgan Music Direction by Matt Pearson Choreography by Jennifer and Perrin Gilbert Photography by Clay English from Vargo Studios Fellow millennials, let’s go back to 1999. Phil Collins of Genesis has just dropped a killer soundtrack for an Disney animated film about a jungle-raised man. Fast forward to now, and Tarzan The Stage Musical  swings straight back into that era of big music and bigger heart. I strolled into Tarzan  at Spotlight Theatre all set for a nostalgia trip, and before I knew it, I was swinging through a full jungle of emotions! This production doesn’t just tiptoe into the magic of Disney. It catapults off it, vine-swinging into a wild theatrical adventure that is thrilling, acrobatic, immersive, and impressively ambitious. As a 90s kid, I instantly vibe with director Stuart Morgan. Just like me, his childhood was shaped by the Disney Renaissance and those animated classics that taught us life’s most important lesson: singing absolutely solves everything. This production honours the emotional core of the story while embracing theatrical spectacle, creative risk, and a level of scale that genuinely made me whisper, “Seriously, what was their budget?!" Set deep within the African jungle, Tarzan  follows a young boy orphaned after a tragic shipwreck and a run-in with a leopard, who is raised by a family of gorillas. Taken in by the gentle Kala after she loses her own baby, Tarzan grows up learning the rhythms of jungle life, but as he matures, he begins to question where he truly belongs. When a group of humans arrive to study the wildlife, including the adventurous Jane Porter, Tarzan finds himself caught between two worlds. Before the show even begins, the jungle is alive . The "animals" roam the auditorium, interacting with the audience and being “fed” with $1 cups of animal feed available from the theatre bar. So playful and immersive, and immediately lowers the fourth wall. This is theatre that wants to drag you right into the wild world, not just sit there like a frog on a log. Stepping into the cool, dark air of Halpin Auditorium, the sound of crashing waves surrounds you. A scrim reveals an old-world map projection, with a ship sailing towards Africa. The ocean grows rough, the sound swells, and suddenly Father, Mother, and Baby Tarzan are caught in the storm, tumbled by the sea and fighting for survival. These opening moments are cinematic, tense, and beautifully staged. Then the set is revealed… Designed by Stuart Morgan and Peter Maden , this jungle is everywhere! It's as if they gathered every green and brown fabric they could find, knotted them, and hung them up to make the stage wings so densely decorated that performers had to pull them aside like curtains to enter. Upstage, a ladder climbs to a platform and a gigantic tree trunk dominates the space, opening to reveal a treehouse constructed from shipping crates... Tarzan’s first home. The lower section opens for more transformations, and cleverly integrated behind the environment is the twelve-piece band. From the opening number “Two Worlds”, the ensemble’s physicality knocked my socks off. Bare feet of course, backs hunched, weight dropped low, and plenty of grunts. Did the ensemble genuinely study gorilla movements for weeks?! It certainly looks that way! While they obviously cannot walk fully on their knuckles, they incorporate knuckle-based gestures and hunched stances with impressive commitment. The upper-body strength of the rope climbers is unreal, and the ensemble never drops character, even in the background. Watch them closely, there are some very funny choices happening. At the heart of it all is Flynn Anderson as Tarzan. After Brock Drinkwater was accepted into WAAPA (congrats!), he had to step away from the production, allowing Flynn to step in! Though his role has few words, his acting is precious, sincere, and captivating. Flynn communicates beautifully through movement, stillness, and presence. Plus, his singing voice is outstanding. In “Son of Man” (a song I've definitely listened to over a hundred times), the cast delivers everything I could have hoped for. The transition from young to grown Tarzan is slick, capped off with an incredible acrobatic (leap-flippy-feet) move that I cannot even explain, only applaud. Later, in “Strangers Like Me,” there's a minor timing issue between Tarzan, the band, and the offstage harmony, but Flynn powers through with his stunning tone. He truly has the voice of a Disney prince, which is quite fitting given his name. Someone please stage Aladdin  immediately so Flynn can star in it. Alannah Eyerich is a sensational Jane Porter. She leans fully into the proper British accent and fast-talking curiosity, crafting a Jane who is youthful, excitable, intelligent, and deeply passionate. Her first solo, “Waiting for This Moment”, introduces her in spectacular style, surrounded by ensemble members as flowers while an enormous (Audrey II-style) carnivorous plant attempts to make her lunch. Alannah’s voice is bright, pitch-perfect, and expressive, with gorgeous dynamic contrast and seamless register shifts. Jane's falling-in-love ballad “For the First Time” becomes a split-stage duet with Tarzan, keeping them physically separate yet emotionally connected. It is beautifully directed, with both performers equally passionate and vocally matched. Their duet “Different” sees Jane and Tarzan narrate aloud, not understanding each other’s language, while the stage explodes with visual storytelling. Vines descend from above, the ensemble leap and climb, an aerialist flies on silks (REALLY), ropes swing across, and movement ripples through the jungle. Flynn and Alannah remain the calm centre as friendship and understanding collide with the chaos. Dana Sandry as Kala is simply breathtaking, radiating warmth and maternal strength. Dressed in warm tones of orange, brown, and purple, and crimped hair with colourful clip-ins. Her voice feels like a comforting embrace, and her face is beautifully expressive; whether distorted with grief or filled with love. When she sings “You’ll Be in My Heart” to a doll baby Tarzan (who, by the way, has a hilariously full head of hair!), it hits you right in the feels with sincerity and tenderness. Perrin Gilbert as the silverback gorilla Kerchak carries low-bellied tone and simmering intensity. His singing voice carries weight, his posture screams dominance, and his almost-constant gruffness makes his emotional arc with Kala and Tarzan especially effective. On the flip side, Jonathan Whitlow as Tarzan's bestie Terk is the ultimate scene-stealer. His character is a cocktail of hilarity and sharp detail, and his song “Who Better Than Me” is my top pick for tunes that are not in the movie, paired with some of the most energetic and physically demanding choreography in the show. “Trashing the Camp” is another jaw-dropper, led by Jonathan with ferocious energy and full-throttle vocals. Young Tarzan is played by James Mitchell and Oscar Borrett (I saw Oscar), who is sweet, confident, and comfortable on stage with significant storytelling responsibility. Perrin’s real-life child Charles Gilbert plays the baby gorilla. He is adorable… until he is eaten by the leopard. Spoiler alert. I have genuinely never seen a kid so young on stage before! Harrison Salter as the Leopard is so convincing I wonder if he was raised by actual cats. He moves on all fours with feline agility, slinking through the aisles, across the stage, and up the ladder in total silence. The Tarzan versus Leopard stage combat is epic, staged with clarity and care, and plays as a battle of instinct versus intelligence, agility versus strength. Joe Bourke adds another splash of warmth and humour as Professor Porter, playing him as an excitable scientist and doting dad. His cheerful embrace of Tarzan, his fascination, and his affection for his daughter are clearly portrayed in "Like No Man I’ve Seen." Meanwhile, Daniel Carson steps in during Act Two as the arrogant, dogmatic antagonist Clayton. Zak Drew makes a heartfelt comeback as Tarzan’s father for "Everything That I Am" alongside Flynn and Oscar. Additionally, Nicolette Ditchburn's breathtaking atmospheric vocals drift through the jungle like mist every now and then. The live music is an absolute jackpot. Under the direction of Matt Pearson , the band turns up the volume, with the percussion leading the way! It felt like a second heartbeat pounding within me. Costumes by Pina Crisafulli Omeros are richly textured fabrics, paired with deeply contoured makeup, dirtied skin, and wild hair. The gorilla makeup on Terk, Kala and Kerhak in particular is stunning and deserves special recognition (but I don’t know who to credit, sorry!). Lighting by Leonnie Jones and Ariana Sinner paints the jungle floor with layered patterns and lush colours, while projections by Stuart Morgan mark the passage of time and shifting worlds. Nick Willner's sound design is immersive, featuring bird calls, gunshots, roaring animals, and more. The choreography by Jennifer and Perrin Gilbert blends naturalistic movement with modern technique, showcasing the cast's remarkable endurance as they deliver backing vocals while in constant motion. Each dancer is a dynamo, wholeheartedly committed, and highly skilled. Seriously, what’s in the water on the Gold Coast?! The talent coming out of this region is extraordinary, with performers shaped by training grounds like NAPA, SEPAC, Spotlight Youth, and beyond; enabling Spotlight Theatre's performances to consistently excel in choreography and casting. If you want a swinging good time, you absolutely need to catch Tarzan – The Stage Musical . It’s got storytelling that will make you grin like a chimp, mind-blowing routines, stunning vocals, and epic production values. Even the bows were a spectacle!

From the very first downbeat, this concert made it abundantly clear that this was not going to be a polite evening of string quartet. Nope, this was strings unleashed . The event, hosted by Nicholas Tam in partnership with Honour Productions, began with an exhilarating rendition of Adele’s Rolling in the Deep. The performance showcased four outstanding string musicians, accompanied by keyboard and drums, all enhanced by dramatic programmed lighting, swirling fog, and a fully electrifying sound experience. Free earplugs were provided at the entrance, as the performance was magnificently loud and immersive! One of the most impressive elements of the performance was the cohesion between the instrumentalists. With string superstars Kat Augustakis (Violin I), Nyssa Corney (Violin II), and Asa Deacon (Violin III), alongside Sam Hewerdine on keys, Mitchell Patullo on guitar, Julian Sagan on bass, and Nathanael Clyde Tadle on drums. With no conductor, this ensemble was completely locked in with each other, listening attentively and responding instinctively. The setlist itself was clearly curated with purpose, personality, and a deep love of music spanning all genres. And this year’s song choices were absolutely fire! The program dipped into classical territory with Fauré’s Pavane Op. 50  and Corelli’s Christmas Concerto , offering moments of elegance and restraint before launching straight back into contemporary and film. Nicholas Tam on cello beautifully led Hans Zimmer’s Time  from Inception . The slow tempo, rich tone, and low pulsing orange lights created a moment that begged the audience to close their eyes and simply feel. It was cinematic, meditative, and quietly breathtaking. Then came Test Drive  from How To Train Your Dragon by John Powell, and honestly.... goosebumps from the first note. Somehow, with just six instruments, the ensemble created the illusion of a full orchestra. The drive, the lift, the sheer scale of sound was astonishing. Vivaldi’s Winter received a rock-infused makeover that absolutely ripped. Cymbals crashed, the harpsichord shimmered, and each violinist had their own frantic, virtuosic solo moment. When the kick drum hit and fully synchronised lighting blasted along with it, I genuinely felt like moshing.... at a string concert. The millennial heart of the setlist then made itself known quickly! We veered into Britney Spears’ Toxic  in a killer metal arrangement, Linkin Park’s Numb , and a Green Day medley featuring American Idiot , Boulevard of Broken Dreams , 21 Guns , Holiday  and more — all expertly arranged by Kat. There was something genuinely surreal about hearing the strings absolutely slay the melody of Numb  while my brain filled in the lyrics from 23 years ago! It felt like an out-of-body experience. Nostalgia hit hard during Boulevard of Broken Dreams , where I could see Asa mouthing the words while playing. These performers weren’t just executing notes; they were living the music. They were clearly having an absolute ball onstage, and I hope they could hear the whoops, cheers, and very enthusiastic reactions coming from the audience. This was a show for all ages. I even brought along some aspiring music students of mine, and watching their faces light up was incredibly special. The lighting design deserves its own standing ovation. It went so  hard, elevating every genre shift and accentuating the drama of each piece. It was bold, dynamic, and perfectly matched to the music. Later highlights included an absolutely ferocious arrangement of Ozzy Osbourne’s Mr Crowley , arranged by Nyssa and Mitchell, complete with electric guitar solos that went all in. And of course, the Pirates of the Caribbean theme absolutely slapped! The encore was the cherry on top... Holding Out for a Hero, the Shrek 2 version, made famous by Jennifer Saunders. It was perfection. No notes. A joyous, cathartic, crowd-pleasing end to an already stellar night. This concert powerfully showcased the unlimited potential of string instruments in contemporary music. It's always a loud, thrilling, and mind-blowing experience and I look forward to the next one! May I please request Avril Lavigne's I'm With You and the scores to Spirit: The Stallion of the Cimarron and Peter Pan (2003). Photographs: Jamie Cripwell Photography

Deal With It! – Hanson Creative Presented at PIP Theatre Written by  Aimee Sheather and Aarya Dath Directed by  Aimee Sheather and Aarya Dath Set Design by  Aimee Sheather Sound Design by  Aarya Dath Producer  Emma Hanson Deal With It! by Hanson Creative is a dark comedy-thriller that manages to be sharply witty while poking at some uncomfortable truths. All with a devilish grin. Literally. Set in a Brisbane sharehouse littered with Amazon boxes, we meet couple Alix and Max, whose lives are quietly unravelling thanks to their elusive roommate Bridget. She is behind on rent, jobless, and rarely home… until suddenly everything shifts. When money appears, blood stains turn up, and suspicion starts to brew. What unfolds is a slow-burn mystery with supernatural twists, dark laughs, and a growing sense that something far more sinister is at play. Without giving too much away, Bridget has made a deal with the devil via your everyday, run-of-the-mill satanic ritual. In exchange for wealth, she becomes tangled in the manipulative grip of Zizi, a sharply dressed, smooth-talking devil who delights in pulling the strings as puppet master of Bridget’s fate. Ruby Gleeson (Max) and William Kasper (Alix) are the undeniable comedic dynamite of the show, with a rhythm that feels instinctive and easy. Ruby’s Max considers herself a detective, concocting wildly imaginative theories while concealing a little darkness of her own. William’s Alix is peak golden retriever energy, friendly, goofy, and blissfully oblivious. Their scenes consistently guaranteed plenty of giggles. Gianni-Mia Attril-Dowling gives Bridget a withdrawn, internalised intensity. Bridget is something of a hermit, often journalling her thoughts aloud to the audience rather than interacting with those around her, which creates an eerie sense of distance. Her moments of vulnerability land well and will only grow stronger with further development of the character, particularly when the themes turn toward women’s autonomy, fear, and survival. One line in particular really got me, “I don’t hate men, but it’s something I tell myself to stay sane”. Caleb Hockings is fabulous as Zizi the devil, strutting onstage in a sparkly red and black tux with a low, gruff, wonderfully theatrical delivery. His physicality and vocal precision give the character real presence, and his puppeteering of Connor Costin’s characters is cleverly staged. Even in the darker moments, humour sneaks in unexpectedly, with “Please, my cats need me!” earning a big laugh from me (cause... real). Connor also does excellent work as Paul, a man Bridget meets at a bar who is immediately unsettling. His casual entitlement quickly curdles into something far more disturbing. Kyle Armstrong also pops up as John, the Amazon delivery driver, in brief but consistently great moments; short, sweet, and always a treat! Visually, the show commits hard to its colour aesthetic. The set features towering red velvet curtains, a crimson rug, a black and red chaise lounge straight out of soap opera, a marble table, a raised stage with string pulled taut in patterns, and an ever-growing pile of Amazon boxes that anchor the supernatural story firmly in modern domestic life. It is striking without being cluttered. Sound design is particularly effective, using eerie droning textures, sharply timed effects, and music cues to signal the passage of time. Red lighting washes the stage during darker scenes, heightening the sense of danger, while fake blood makes multiple appearances. Stage combat is also well executed to add to the tension. The only consistent technical note is projection. A memorable monologue describing lucid dreams, delivered beautifully by Gianni-Mia,  would have benefited from more volume, particularly when facing away from the audience without a microphone. Direction is solid and confident, especially given this is a brand-new play written by local artists, Aimee Sheather and Aarya Dath. The script is interesting and ambitious, revealing itself slowly and trusting the audience to piece things together. I particularly enjoyed the distinct Brisbane references scattered throughout the script. Plus, well-placed references to the Daniel Craig character in Knives Out  was particularly satisfying because I have JUST recently seen it and caught the joke. Deal With It! is a rare beast, a thriller comedy that blends humour, horror, and social commentary with a distinctly Brisbane flavour. This is an ambitious, locally written work with a strong cast, clever design, and plenty of originality. With further workshopping development (split staging scenes, higher urgency, etc), it has the potential to go even further. If you like your theatre just a little bit satanic, Deal With It!  is well worth catching.

Spring Awakening – Gold Coast Little Theatre Warnings:  Mature themes, explicit sexual content, abuse, sexual assault, abortion, suicide, coarse language. Directed by: Nathan French Music Direction by : Taylor Holmes Photography: Buttery Smooth Images “The lost still walk behind you.” Adapted from Frank Wedekind’s groundbreaking and controversial play, Steven Sater and Duncan Sheik’s Spring Awakening is a rock musical that remains hauntingly relevant. Set in conservative Germany in 1891, the narrative follows a group of young teens as they grapple with the mysteries of the birds and the bees (without Google to help back then!) Among them are Melchior, a headstrong young man with self-taught knowledge of all sexual matters; Wendla, an innocent and curious girl; and the deeply anxious Moritz, who is struggling with both academics and sexual fantasies. These poor kids attempt to navigate puberty while being crushed beneath religious morality, strict schooling, and inherited shame. This leads to a compelling exploration of sexual awakening, repression, and the tragic consequences of adult neglect and ignorance. Nathan French’ s direction makes excellent use of the space, with frequent split staging allowing multiple emotional realities to coexist onstage. The raised rear platform, ladders, rigid frames, and moving set pieces — designed by Andrew Kassab — are adorned with vines and autumnal leaves, creating a striking visual contrast between natural growth and imposed restraint. The set functions as playground, prison, and battleground all at once. Georgia Ogge’ s choreography prioritises emotional truth over spectacle. Movement is often restrained and deliberate, or suddenly explosive when repression finally cracks. Combat and intimacy are handled carefully, supported by Jocelyn Moore-Carter’ s intimacy coordination; an essential safety net in a production requiring this level of vulnerability. The production uses recorded tracks rather than a live band, which proves a practical choice, with vocal direction by Taylor Holmes . That flexibility became crucial on opening night, as Jack Flanagan (Melchior) was required to project heavily through microphone issues for much of Act One. Despite this, his performance never faltered. His opening solo, “All That’s Known,” immediately showcases a stunning, controlled voice and an effortless, natural acting presence. Flanagan possesses this rare combination of vocal beauty and emotional truth (particularly impressive for an 18-year-old performer) and he anchors the production with beautiful sincerity and depth. From the moment the boys appear in Latin class, rigid with fear before their professor, the male ensemble threatens to steal the show. There is an undeniable je ne sais quoi  to this ensemble that is magnetic to watch. “The Bitch of Living” explodes with raw teenage frustration, desire, and torment. Each boy brings a distinct vocal colour, united by the pressure to succeed in a system stacked cruelly against them. Jolan Walker is excellent as the harsh authority figure, belittling Moritz with chilling realism. Emerson Bell’s Wendla is heartbreakingly believable. “Mama Who Bore Me” (the one song I knew going in) is delivered with pure, childlike curiosity, perfectly capturing a girl in bloom with no understanding of what her body is becoming. Olivia French , as Wendla’s conservative mother, embodies the damage caused by adult discomfort. When Wendla asks how babies are made, all she can offer is, “A woman must love her husband a lot.” Moments of humour and levity arrive through “My Junk,” where the cast become giddy over what seem like absurdly small curiosities: a girl’s stockings, a boy who’s good at maths. The girls soar through tight five-part harmonies, sweet and girlish in their fascination, while the boys are far more physical. Andrew Kassab’ s Hanschen is particularly memorable, hiding in the bathroom reading what he uses as erotica (it absolutely is not). “Touch Me” shifts the tone into something slower and more sensual, with Alex Holmes leading powerfully as Georg. Flanagan and Bell share a beautifully staged “The Word of Your Body,” choreographed with slow, tender touch and bathed in soft lighting. Notably, the pair never make eye contact; reinforcing that this intimacy exists in fantasy rather than reality. Bell continues to impress later in “Whispering,” a stunning number that lands with particular clarity if seated stage right. Ziggy Dutfield’ s Moritz is utterly captivating: awkward, endearing, and quietly funny at first. “And Then There Were None” is delivered with extraordinary vocal power and emotional precision (a Broadway performer reincarnated?) Please know that I wanted to cheer, but the scene ends too abruptly to allow for it! Crushed by academic failure, parental brutality, and sexual shame, Moritz begs for escape. Jolan Walker’s portrayal of Moritz’s father is genuinely distressing, screaming him into a fetal position. Dutfield and Chloe Smith's pairing in “Don’t Do Sadness / Blue Wind” offers a fleeting sense of nostalgia — of childhood, spring, and summer — before anger and despair overwhelm Moritz once more. The poetic lyricism allows both performers to explore yearning and loss with heartbreaking honesty. Laila Chequer De Souza’ s Martha brings the show firmly to real-o’clock  with “The Dark I Know Well.” As she reveals ongoing abuse by her father, the lighting turns red, the men close in, and her voice shifts from pain to rage, with a flicker of strength breaking through. Chloe Smith as Ilse joins her, offering solidarity, shared resilience, and a stunning vocal tone. Andrew Kassab and Nate Purdy are wonderful as Hanschen and Ernst; delicate, tender, and sincere in their portrayal of young queer love. Their scenes feel softly revolutionary within this rigid world. Lighting Designer Ben Vlasich uses intense green lighting patterns to support Wendla and Melchior’s encounter (where she asks him to strike her so she can “feel something” WHAT), causing a sense of unease, power imbalance, and dangerous curiosity. “I Believe” requires enormous bravery from the leads in that spotlight, and both meet the moment with courage and trust. Later, “Mirror-Blue Night” transforms the stage into a swirling, mirror-ball wash of light. Despite the heaviness of Act Two, “Totally Fucked” offers a brief, riotous release. Flanagan climbs into the audience, the ensemble swing from ladders, throw leaves, and gleefully flip us off. This musical often feels like Sex Education ... if it were set in 1891 Germany and stripped of any adult guidance whatsoever.... Speaking of, the adult world, portrayed by just two actors (Olivia French and Jolan Walker) , fails these children at every turn. Religious rigidity, institutional cruelty, and forced silence culminate in devastating consequences. Wendla’s realisation (spoiler) — “ I’m going to bear a child?! But I’m not married? ” — lands with chilling innocence. Emerson Bell is strong throughout, but this moment (and the ones following) could be pushed even further into theatrical drama/horror. “Left Behind” rips the heart out of the room, with Walker’s anguished cries echoing with very real levels of grief. “Those You’ve Known” draws us fully into sorrow, with Flanagan delivering one of the most emotionally raw moments of the night. Spring Awakening  at Gold Coast Little Theatre is bold, emotionally devastating, and deeply human. It asks difficult questions and refuses easy answers. Sit in the front row if you dare — you may leave with fog, spit, sweat, tears, and leaves on you — but you will leave changed. Highly recommended for mature audiences who are ready to listen.

Title:  Three Little Words Presented By:  Ad Astra Theatre Company Genre:  Theatre / Drama   Synopsis:   Three Little Words follows two long-term couples whose carefully balanced friendships are thrown into chaos when one marriage suddenly ends. As loyalties shift and buried truths surface, the four friends are forced to confront what love, commitment, and happiness really mean. As hilarious as it is heartbreaking, Joanna Murray-Smith’s play skewers modern relationships with sharp wit and emotional honesty, revealing how three little words can upend lives.   Audition Date:   February 3rd and 5th, 2026 Callbacks - February 7th, 2026 Audition Times:   7:15 - 10PM Callbacks - 10 - 3PM Audition Location and Address:   Ad Astra - Pluto, 210 Petrie Terrace, Brisbane   Audition Requirements:  Please prepare 2 short monologues that display dramatic and comedic range. Applicants may be asked to perform a cold read during the audition. Audition Registration:   To apply, please email creatives@adastracreativity.com. Please include your current CV in Word or Google Doc only, as well as a RECENT headshot. Please make sure you specify the role/roles you will be auditioning for.   Performance Dates:  April 16th - May 9th, 2026 Performance Times:    Thursdays and Fridays - 8PM Saturdays - 2PM & 7:30PM Performance Location:   Ad Astra - Pluto, 210 Petrie Terrace, Brisbane   Rehearsal Dates:   Two week nights and a weekend day from February 10th, through to opening night.      Performer Age:  Playing ages 40s/50s  Creative Team:  Written by Joanna Murray-Smith Directed by Greg Scurr Production Website:   Ad Astra - Three Little Words   Available Roles/Character Breakdown: Tess (40’s) - A book editor, questioning what she wants from the rest of her life. Curtis (40s) - Tess’s husband of 20 years. A teacher, who thought he was living the perfect life. Bonnie (late 40s - early 50s) - A strong, sophisticated art gallery owner. Annie (40s) - Bonnie’s partner, a masseuse who begins to find her voice throughout the play.

Title:  The Madeleines – Brisbane Cast Auditions Presented By:  The Madeleines Genre:  Vocal Performance / Jazz & Swing Entertainment Synopsis: The Madeleines are a professional vocal trio performing jazz, swing, and timeless classics from the 1920s–1960s in polished three-part harmony with choreography, charm, and high-energy stagecraft. They are launching a new Brisbane cast to perform in a variety of settings including festivals, corporate events, cruise ships, theatres, and more. Audition Date: First Round - Self-tape submissions due February 15th, 2026  Audition Time: Self-Tape Deadline - 12PM Audition Location and Address: First Round - Self-tape (record at home/studio) Call Backs - Australian Performing Arts Conservatory (APAC) – Date TBA Audition Self-Tape Due: Yes - February 15th, 2026 at 12PM AEST Audition Requirements: Submit a self-tape with: A jazz vocal performance of your choice (landscape video) A brief on-camera introduction stating your name, location, instruments (if any), and why you want to join The Madeleines Include a headshot and CV with your submission Audition Registration: Email your self-tape, headshot, and CV to - themadeleinestrio@gmail.com Performance Dates: Shows and bookings will be scheduled throughout 2026 and beyond Production Website: The Madeleines Other information: Shows are paid performances; rehearsal periods are unpaid, with guide tracks, scripts and choreography provided. All performers should have strong close-harmony vocal skills, dance/movement ability, and excellent stage presence with comedic timing and audience engagement. The company welcomes performers regardless of age, ethnicity, disability, gender identity, or background

Title:  Moon Over Buffalo Presented By:  Growl Theatre Genre:  Theatre / Farce Synopsis: It’s 1953. George and Charlotte Hay are two fading stars concurrently appearing in two plays, Private Lives & Cyrano de Bergerac in Buffalo, New York. Their marriage is on the brink of a split up, caused by George’s ‘interest’ in a young actress. Mega Hollywood director, Frank Capra, is coming to see their matinee…if he likes what he sees, it could be the big Hollywood break they are looking for. Mayhem and naked ambition take over as George and Charlotte do anything and everything in their power to make Capra love them.   Audition Date:  February 8th, 2026 Callbacks (if required) - February 9th, 6:30pm Audition Time:  4:30PM Audition Location and Address:   Windsor School of Arts, 381 Lutwyche Rd, Windsor   Audition Requirements:  Auditions will be cold reads - you will be given a script and basic context and asked to perform either by yourself or with another auditionee. This is to establish your fit suitability for the role as well as seeing the blend with others. You do not need to prepare anything for the audition. Audition Registration:  Complete the Audition Registration Form Email a headshot and acting CV to the Directors at production@growltheatre.org.au Audition Pack:    Moon Over Buffalo Audition Pack   Performance Dates:  May 16th - 30th, 2026   Rehearsal Dates:  March 1st - May 14th, 2026 Rehearsal Times:  Mondays & Thursdays - 6:30PM - 9:30PM Sundays - 1:30PM - 5PM Rehearsal Location:   Windsor School of Arts, 381 Lutwyche Rd, Windsor   Performer Age:  18+ Production Website:  Growl Theatre - Moon Over Buffalo  Other information:   Membership fees - If you are cast for a role, you are required to become a 2026 financial member of Growl Theatre, which is $30 per calendar year (expires December 2026) Other Costs - Growl Theatre will provide the vast majority of your costume. Cast will be required to bring their own makeup basics (including foundation, eyeliner etc). Physicality - Most roles require high physical stamina for the fast-paced door-slamming farce. Accents - George, Charlotte, Rosalind, and Paul must be comfortable shifting between American and upper-class British accents. Combat - George and Charlotte may be required to perform choreographed stage combat.   Available Roles/Character Breakdown:  George Hay (Male, 50s–60s): A traveling actor and leader of the troupe. He is pompous, dramatic, and a “ham” with a flair for the over-the-top. This is a high-energy role requiring strong physical comedy, including stage combat and pratfalls. Charlotte Hay (Female, 50s–60s): George’s wife and the company’s leading lady. She is more practical but possesses a stubborn, vindictive streak. She must be able to perform an upper-class British accent for the “play within a play” scenes. Ethel (Female, 60s–80s): Charlotte’s nearly-deaf mother. She is grumpy, a trouble-maker, and has a deep disdain for George. Requires a performer with strong deadpan comedic timing. Rosalind “Roz” Hay (Female, 20s–30s): George and Charlotte’s daughter. She left the theater for a “normal” life but still has drama in her blood. Must also be able to perform an upper-class British accent. Paul (Male, 20s–40s): The troupe’s stage manager and Rosalind’s ex-fiancé. He is the anchor of the company and often holds the chaos together. Requires strong physical comedy skills. Howard (Male, 20s–40s): A nervous TV weatherman and Rosalind’s new fiancé. He is star-struck, excitable, and easily confused, leading to significant physical comedy opportunities. Eileen (Female, 20s): An aspiring actress in the troupe who has a fling with George. She is flighty, naive, and does not handle adversity well. Richard Maynard (Male, 40s–60s): A wealthy, sophisticated lawyer courting Charlotte. He is professional, “classy,” and often perplexed by the Hay family’s antics.

Title:  Season of One Act Plays Presented By:  Act 1 Theatre Genre:  One Act Plays   Synopsis:  Act 1 Theatre invites performers to audition for their 2026 One-Act Plays Season, featuring two contrasting and compelling short works - one powerful drama and one laugh out loud farce.   Audition Date:  February 7th and 10th, 2026 Audition Time:    February 7th - 1PM February 10th - 7PM Audition Location and Address:  Pine Shire Hall, 238 Gympie Road, Strathpine 4500   Audition Registration:  Contact Deb Hossack for further information - 0431 843 887 Audition Pack:    Audition information here   Performance Dates:  April 10th - 19th, 2026   Production Website:  Act 1 Theatre - One Act Play Season     Available Roles/Character Breakdown:  Blank Cheque (Drama) - Casting for 6 men & 1 woman An Awkward Affair (Comedy) - Casting for 3 men and 3 women