Title: The Fairy Queen Presented By: Brisbane City Youth Ballet (BCYB) Genre: Ballet About: Join BCYB this Winter in the enchanting fairyland of The Fairy Queen, where magical creatures and spirits await to whisk you away on an extraordinary journey. Audition Details: Audition Date: Sunday, March 2, 2025 Audition Location and Address: BCYB Studios, Millway St, Kedron Additional Information: Dancers unable to attend in person may submit a video link as part of their audition. Audition Requirements: Dancers must be aged 7+ to audition. A compulsory audition fee of $22 per dancer must be paid prior to the audition. Audition Registration: Register Here Rehearsal and Performance Season: Rehearsals — at BCYB Studios, Kedron: Main Company: June 28 – July 6 Junior Company: June 29 – July 6 Petite Company: June 30 – July 6 Performances — at Brisbane Powerhouse, New Farm: All Levels: July 4 – July 6 Costs: Main Company: $1100 Junior Company: $990 Petite Company: $550 Production Website: BCYB Official Website

Title: Footloose Presented By: National Academy of Performing Arts (NAPA) Genre: Musical Synopsis: Footloose follows the story of Ren McCormack, a city teen who moves to a small town where dancing and rock music are banned. As he challenges the oppressive rules, he inspires the town to embrace freedom and find joy in music and dance. This high-energy musical is full of unforgettable songs and dynamic dance numbers. Audition Dates: Thursday, 6th March – Dance Call/Video Auditions Due Sunday, 9th March – Callbacks Audition Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Audition Requirements: Complete the audition form online at NAPA Footloose Audition Registration. The full rehearsal schedule is available for download: Footloose Rehearsal Schedule. Available Roles: Ren McCormack (Lead): Masc, 18-25, Tenor, strong dancer, rebellious, emotional. Ariel Moore (Lead): Fem, 18-25, Mezzo-Pop, rebellious minister’s daughter, strong belt, strong dancer. Rusty (Supporting): Fem, 18-25, Soprano/Pop, comedic, strong belt, strong dancer. Willard Hewitt (Supporting): Masc, 18-25, Tenor, country bumpkin, comedic timing required. Ethel McCormack (Supporting): Fem, 35-45, Soprano, Ren’s caring mother. Chuck Cranston (Supporting): Masc, 18-25, Tenor, bad boy, Ariel’s boyfriend. Urleen (Supporting): Fem, 18+, Mezzo/Alto, Ariel’s smart friend, comedic, strong dancer. Wendy Jo (Supporting): Fem, 18-25, Mezzo, Ariel’s friend, comedic, strong dancer. Ensemble: All genders, 18+, townspeople, students; strong singers, dancers, and character performers. Performance Dates: 30th, 31st May; 1st, 6th-8th June 2025 Performance Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Rehearsal Dates: 13th March - 28th May 2025 Rehearsal Times: TBC Saturdays 2.00-5.00PM Thursdays 6:00-9:30PM Mondays 6.00-9.30PM (After Easter break) Wednesdays 6.00-9.30PM (After Easter break) Warnings: Some roles feature mature themes and require emotional depth. Required Age: 18+ Crew: Director: Kim Reynolds Vocal Directors: Steffanie Gowland, David Valks, Leila Chequer de Souza Associate Choreographers: Mandy Morrison, Suzanne Lewis Production Website: NAPA Other Information: This is an unpaid production. All performers must be available for the listed rehearsal and performance dates.

A Magical First for Ballet Theatre Queensland Let me say this upfront: this is a show you do not want to miss. With a limited run, I urge you to secure your tickets before they vanish. A heartfelt thank you to Ballet Theatre of Queensland and Lucas Lynch for the privilege of attending this extraordinary opening performance and the post-show event where we not only celebrated this production’s incredible achievement, but it also unveiled BTQ’s exciting 2026 and 2027 productions. Snow White draws the audience into a world where enchantment meets artistry. Choreographed by Clare Morehen with a mesmerising original score by Lucas Lynch, this world-premiere ballet marks a monumental milestone in Ballet Theatre Queensland's history. With over 250 creatives, volunteers, and artists collaborating behind the scenes, Snow White is a breathtaking result of talent, vision, and artistic synergy. The production weaves a traditional fairytale with stunning choreography, brand-new music, and captivating design elements to create a performance that feels simultaneously grand and deeply intimate. While the Concert Hall at QPAC is typically used for orchestral performances, BTQ manages to transform it into a full ballet stage. It’s easy to understand why they chose the Concert Hall—the pipe organ! As someone who has performed on that very stage many times, I can fully appreciate how tricky it must have been for the stage manager Emma Healy and crew to work within such a space. But what they’ve accomplished is seamless and stunning. The orchestra—Cadenza Chamber Players—have an open pit, allowing me to glimpse each one of the remarkable musicians, including the brilliant Lucas Lynch, whose sparkly suit jacket is just as dazzling as his conducting. A Triumph in Storytelling What truly sets BTQ's Snow White apart is its dedication to theatrical storytelling. Under the expert guidance of Clare Morehen and Lucas Lynch, who devoted over 14 months to this labour of love, their collaborative passion and meticulous planning shine through in every scene. It's obvious that every detail has been painstakingly crafted to serve the narrative. The ballet opens with a stirring prologue, plunging the audience into the Grimm-inspired tale. We dive deep into Snow White's backstory, offering a richer understanding of her journey that is often missing from fairy tale adaptations. Ample time is devoted to portraying Queen Lillian and King Frederick’s loving relationship, their life raising Snow White, and even posing for family portraits, until Queen Lillian’s untimely demise (played with true beauty by Lillian Richmond). This leads to the King’s hasty marriage to the dazzling yet dastardly Evil Queen, a development that is given equal attention. The ballroom scene is a real showstopper, with 18 dancers in glittering golden masks and gowns executing a grand, classical routine. Enter Sophia Gougoulas, the mysterious woman draped in black and gold. From her ornate mask all the way down to her noir pointe shoes, she exudes an aura of divinity. As she seizes control of the kingdom, everything seems to darken—the lighting grows dimmer, the music takes on an ominous tone, and the choreography becomes more foreboding. Snow White's "death" and resurrection are staged with extraordinary care, while the finale is a celebration of love, justice, and triumph (accompanied by a breathtaking quick-change costume reveal that I won't spoil!). TALENT: From Young Stars to Seasoned Pros The young dancers of BTQ shine brightly, demonstrating remarkable technique and storytelling abilities well beyond their years. With a cast of 81 dancers assembled from 24 dance schools across South-East QLD, plus choristers from Voices of Birralee, each performer contributes to the production’s grandeur, whether through visually striking ensemble scenes or quieter, emotionally charged moments. From portraying fearful subjects under the Queen’s oppressive rule to embodying playful creatures in the enchanted forest, the cast delivers with professional-level precision and passion. The young Snow White, portrayed by the stunning little dancer Ivy Noonan (role shared with Sarah Oh), is already impressive in both her technical ability and emotional expressiveness. Clad in a delicately soft blue dress, she beautifully conveys the anguish of losing her mother, juxtaposed with the innocent playfulness of her moments shared with young William (played by Ravi Lyndon). The adult Snow White, played by the exquisite Caitlin Volker (role shared with Emma Kim), is everything you imagine the fairest of them all to be. With her elegant demeanour and graceful physicality, she moves with the poise of royalty. Her intricately designed costume and delicate up-do further allow her to radiate the grace and charm of a true princess. Volker's portrayal beautifully captures Snow White’s purity and quiet strength, enchanting the audience with every movement. Her chemistry with adult William (played by guest artist Jordan Lennon) is especially heartwarming, their tender pas de deux a stunning display of connection and love. Lennon’s Act 2 solo is an emotional highlight—his heartbreak palpable as he searches for Snow and reminisces about their shared childhood. Paired with music steeped in longing and tenderness, this moment sent shivers down my spine. Special mention must be made of Sophia Gougoulas (role shared with Zara Strelen), who portrays the Evil Queen with captivating brilliance. Her command of the stage is mesmerizing, with every movement dripping with menace and jealousy. Her exceptional acting fully realizes the Queen’s wrath, as her physicality, the intensity of her gaze, and the choreography all combine to create a truly threatening presence. The other guest artists, Callum Paterson as the Huntsman and Jayden Grogan as King Frederick (Snow’s father), bring a level of polish and professionalism that elevates the production to new heights. Their presence grounds the story with experienced and nuanced character work, creating a harmonious balance between the youthful energy of the ensemble and the refined artistry of seasoned performers. The seven pixies, a delightful reinterpretation of the classic seven dwarfs, were a highlight of the production, bursting with charm and individuality. I won't list all the pixies, as there were a lot of them, but I found the cast I saw on opening night brought so much personality to their roles, enchanting the audience with their playful gestures and expressive mime work. Their colourful costumes—complete with dainty wings, matching ballet shoes, intricate eyeshadow, and whimsical headpieces—add a sense of joy and whimsy to the proceedings. Their scenes with Snow were filled with warmth, brought to life by light choreography and a magical fairy-like score featuring plucked strings and chimes that made you feel like you were in a Disney movie. The senior dancers don skeletal masks that transform them into eerie, otherworldly figures, adding an air of mystique and unease to their presence—while still looking stunning en pointe. Their ability to perform so seamlessly despite the seemingly limited visibility through these masks is a testament to their incredible skill, adding yet another layer to the show’s enchanting magic. Equally impressive is the makeup and wig work on the Queen’s ghoulish minions, which enhances their ominous presence and cements them as unforgettable elements of the production’s dark, gothic aesthetic. A particularly breathtaking moment unfolds in near darkness as Snow encounters the fireflies—the tiniest and most enchanting members of the cast. Bathed in a soft, solitary spotlight, Snow becomes the centrepiece of this magical scene as the fireflies gather around her, their light-up wings and antennae flickering in perfect synchrony with the fairy-like melody of delicate harps and ethereal choral harmonies. It’s one of those moments that makes you feel as though you are part of the magic yourself. CHOREOGRAPHY: Elegance Meets Darkness Now, let’s talk choreography. It’s absolutely divine. Every move is so beautifully executed, thanks to the talented dancers who’ve come together from schools all over South-East Queensland. Clare Morehen’s choreography is a visual feast, vividly contrasting the gentle, romantic movements of Snow White and her allies with the angular, contorted lines of the Evil Queen and her followers. Act One highlights this beautifully, with sharp, regimented choreography portraying the Queen’s tyranny. The military-themed costumes worn by the People of the Realm emphasise her authoritarian rule—a wonderful cohesion between costume and movement. Meanwhile, the forest scenes offer a whimsical reprieve, brimming with the magic of the Pixies and Fireflies. Their lighter, fluid movements transport the audience into a magical realm, where every fluttering gesture seems to sparkle with possibility. The way these characters interact with Snow White is touching, and it’s through these moments of respite in the forest that we see Snow's kindness and warmth shine through. The Masquerade Ball is a standout, blending grand, traditional ballet with narrative progression. When the Queen seizes control, the choreography shifts daringly into more contemporary styles, with sharp synchronised movements and the entire military ensemble incorporating stools into the routine. This electrifying moment, paired with the dramatic swell of music, is utterly captivating. Meanwhile, a massive set piece rolls onto the stage completely unnoticed—more theatrical magic! The production excels in cohesion, with every element meticulously woven together to create a visually and emotionally rich experience. Morehen’s direction ensures that every movement not only reflects the character’s inner world but also tells the timeless story of love, loss, and redemption. Without revealing too much, one of my favourite enchanting moments in this ballet was when Snow and William as children danced to their playful musical motif before leading to a beautiful interaction with the magic mirror. MUSIC: A Unique Masterwork Dr. Lucas D. Lynch’s score is a revelation, echoing the grandeur of traditional ballet while carving out its own unique identity. Performed live by the Cadenza Chamber Players under his expert baton, the emotional depth of the music and its recurring themes create a rich sonic tapestry that continually drives the narrative forward. His compositions manage to balance classical elegance with contemporary sensibilities, seamlessly shifting between romantic waltzes and ominous motifs. The inclusion of the Voices of Birralee choir adds a haunting, ethereal layer to the music, enriching pivotal scenes like the Dark Forest and Snow White’s requiem. The choice of venue became even more apparent when the Concert Hall’s pipe organ made its entrance in the score. Though hidden behind curtains, its majestic sound added depth to Lynch’s exquisite compositions, perfectly tailored to every moment on stage. From the beginning, the score establishes a mysterious, fairytale atmosphere with chimes and lush strings as Snow White's parents share a tender dance with their daughter. The scene quickly turns tragic as Snow’s mother fades away. The sorrowful cello and piano swell into a powerful orchestral crescendo, delivering an emotional punch that sets the stage for the drama to follow. One of the most striking elements of Snow White is its attention to detail. Lynch crafted Snow White’s theme with a romantic and sweet melody to mirror her kindness, whereas the Evil Queen’s theme—introduced as soon as she gazes upon Snow in the mirror—recurs as her malice intensifies. As the set rotates, revealing the witch's lair on one side and the forest cottage on the other, Snow travels through a dark forest enhanced by veiled dancers and the deep resonance of the organ, building to the dramatic showdown between the huntsman and William. Snare drums introduce the seven pixies, while plucked strings and chimes enhance the magical atmosphere of the cottage, filled with plenty of 'aww' moments. A singular voice and strings mark the poignant moment of mourning as Snow White succumbs to the poisoned apple. But the moment Snow White awakens from her enchanted slumber is nothing short of magical, thanks to the gorgeous choral arrangements and lush orchestration that deliver a truly cinematic experience. SET, SOUND, LIGHT, COSTUME: Designs That Transport The magic of the production lies not only in its grand gestures but also in its intimate details. For example, the dancers illuminating Snow’s coffin to guide William to its location, or the sound of dripping water in the witch’s lair, or the light from the fireflies’ wings and antennae syncing with the music. Even the glitter confetti used as bathwater for the pixies adds to the whimsical charm! Bill Haycock’s set design elevates the production by transitioning between contrasting worlds. Shimmering fabrics hang above, imparting a sense of grandeur without overwhelming the space. The iconic magic mirror is given a literal and metaphorical twist when it shatters, revealing another dancer as the Queen’s reflection (played by Katie Holman), and the Queen performs a striking pas de deux with herself – a stunning portrayal of vanity. The light reflecting off the shattered mirror fragments, held by the ghoulish figures, creates a blinding, hypnotic effect. The use of lighting by Glenn Hughes plays a pivotal role in blending these worlds, shifting between the stark, colourless tones of the Queen’s realm and the ethereal, vibrant glow of the Pixies’ forest. Wil Hughes' sound design is also superb, crafting a strong sense of danger and magic—especially with the whoosh of spells being cast and the brain-tingling sound of the mirror shattering. Rebekah Ellis’s costumes are works of art—each piece meticulously crafted to convey the personality of the characters and the tone of the scenes, not to mention that her team ensured that every costume was custom-made to fit the dancer perfectly. Snow White’s soft, flowing garments communicate the purity and gentleness of her character, contrasting with the regal yet sinister designs of the Evil Queen’s wardrobe. The woods are dark and mysterious, illuminated in purples and greens, with dancers in black moving like shadows of branches in the forest. The costume quick-change reveal at the end is breathtaking, accompanied by falling petals—truly unforgettable. Sarah Smith works her magic with makeup, transforming the characters into living, breathing elements of the fairytale, while Michael Green’s incredible wigs complement the character transformations beautifully. Ballet Theatre of Queensland has delivered a truly magical production in Snow White. Every performer, from the youngest dancers to the senior ensemble, shone brightly. Queensland is brimming with incredible dance talent, and BTQ has proven they are at the forefront of showcasing it. The passion and care that Lucas, Clare, and the entire BTQ team have put into this production are evident in every moment. Snow White is a dazzling reminder of the magic that can happen when music, dance, and storytelling unite. With visionary choreography, a captivating score, and stunning designs, this production does what only the best stories can do: it transports the audience to another world. From the first dramatic note to the final, uplifting moment, it is a performance that engages both heart and mind. This production represents a significant achievement for BTQ and the Australian arts community. It's a rare privilege to witness a brand-new ballet with an original score, and I feel fortunate to have experienced its debut. This was my first BTQ production, and it definitely won't be my last, with Cinderella coming later this year, Alice in Wonderland (original score by Lucas Lynch) in 2026, and a brand-new ballet of Snugglepot and Cuddlepie in 2027. Snow White already holds a special place in my heart, and BTQ’s adaptation has far exceeded my expectations. I wholeheartedly recommend it as a magical journey through one of the most beloved fairytales. Photography: Quince & Mulberry

Title: ABHOR Presented By: Introspect Theatre Company Genre: One-Act Play Synopsis: Introspect Theatre Company is returning to the Southeast Queensland Festival Circuit with the one-act play Abhor, an original script by Aaron Evans. Set in ancient times, the play follows a mixed-creature clan called the Ironsins who banish humans from their lands. However, one of their own befriends a human, and in a fit of fury, the Ironsins' second in command attempts to cast a spell to remove humans from time. The spell goes awry, and the clan is transported to Sydney in 1999, where they discover that humans have taken over and their kind is nowhere to be found. Abhor explores themes of racism in both medieval and modern-day settings. Audition Date: Sunday, 23rd of February, 2025 Audition Time: 10:00 AM Audition Location and Address: Drama Room – Northpine Christian College Audition Self-Tape Due (if applicable): Video auditions are welcomed. Audition Requirements: A 2-3 minute drama monologue Audition Registration: Click here to register Audition Pack: Download Information Pack Rehearsal Dates: Tuesdays from 6:00 PM to 8:30 PM, starting 4th March 2025 Media Day: Tuesday, 3rd June 2025 Dress Rehearsal: Sunday, 29th June 2025 Performance Dates: Home Performance: Sunday, 6th July 2025 Festival Dates: Beenleigh Theatre Group: 1st, 2nd, 3rd August 2025 Ipswich Little Theatre: 8th, 9th, 10th August 2025 KSP Theatre: TBC Crew: Director: Tiarne (Director of Kaleidoscope, 2024 Southeast Queensland Drama Festival) Production Website: ABHOR Auditions Page

Title: Disney’s The Little Mermaid JR. Presented By: ROCKIT Productions Genre: Musical Theatre About the Program (RUGRATS & JUNIORS) Rugrats Program: For students in Prep to Grade 2, the Rugrats Program introduces young performers to musical theatre through creative play. Students explore singing, acting, and dance in a safe and supportive environment. Juniors Program: For students in Grades 3 to 6, the Juniors Program focuses on developing technical skills, including vocal blend, part singing, dance, characterisation, and stagecraft. Students rehearse and perform alongside Rugrats for a collaborative production experience. Synopsis: Dive “under the sea” with Ariel and her aquatic friends in Disney’s The Little Mermaid JR., adapted from Disney’s Broadway production and motion picture. Based on Hans Christian Andersen's beloved story, this enchanting tale highlights love, sacrifice, and acceptance. Audition Details Rugrats: No auditions required. Juniors: Optional auditions will be held on Saturday, 8th February 2025, between 10:30 AM – 4:15 PM. Students will be scheduled into 105-minute blocks Auditions are workshop-style to ensure a fun and relaxed experience. All enrolled students are included in the production regardless of audition participation. Location: ROCKIT Launchpad Studios, 36 Old Cleveland Rd, Capalaba, QLD 4157 To Enrol: Enrol Here Rehearsal Dates: Weekly Classes: Rugrats (Prep): Saturdays: 9:30 AM - 10:30 AM Rugrats (Grades 1–2): Saturdays: 9:30 AM - 10:30 AM Juniors 1 (Grades 3–4): Tuesdays: 4:00 PM - 5:45 PM Juniors 2 (Grades 5–6): Tuesdays: 4:15 PM - 6:00 PM Full Day Rehearsals (Rugrats & Juniors): Saturday, 15th March 2025 Saturday, 3rd May 2025 Extended Juniors Rehearsals: Tuesdays: 6th, 13th, 20th, and 27th May 2025 Time: 3:45 PM – 6:30 PM Performance Schedule Tech Rehearsal: Saturday, 24th May 2025 Show Dates: Sunday, 25th May 2025 (2 Shows) Saturday, 31st May 2025 (2–3 Shows) Sunday, 1st June 2025 (2–3 Shows) Venue: ROCKIT Launchpad Theatre, 36 Old Cleveland Road, Capalaba, QLD 4157 Required Age: Open to students in Prep - Grade 6. Production Website: ROCKIT Productions 2025 Program Other Information: Costume hire fee: $40 (additional to term fees). Discount packages and payment plans available.

Title: Villains Presented By: ROCKIT Productions Genre: Musical Theatre About the Program (ELEMENTARY & INTERMEDIATE) This production is part of our ELEMENTARY (Grade 7 & 8) and INTERMEDIATE (Grade 9) performance programs. This is a bridging course to our Senior grades, combining aspiring young professionals and students who just love the arts! Synopsis: Step into the Dark Woods, a land of magic and mystery where villains take centre stage. Discover their untold stories and see a new perspective on classic fairy tales as they race to rewrite history and create their own Happily Ever After. Audition Details: Audition Date: Saturday, 1st February 2025 (10:00 am – 2:30 pm) Audition Time: Auditionees will be scheduled for 75-minute sessions Callbacks: Saturday, 1st February 2025 (3:00 pm – 7:00 pm) Audition Location and Address: ROCKIT Launchpad Studios, 36 Old Cleveland Rd, Capalaba, QLD 4157 Audition Requirements: Auditions are workshop-style to ensure a fun and relaxed experience. Performance Dates: Tech Rehearsals: Saturday, 7th June 2025 Sunday, 8th June 2025 Shows: Friday, 13th June 2025 (Evening) Saturday, 14th June 2025 (Two shows) Sunday, 15th June 2025 (Two shows) Performance Location: The Launchpad Theatre, 36 Old Cleveland Rd, Capalaba, QLD 4157 Rehearsal Dates: Weekly classes: Fridays, 4:00 – 6:00 pm, starting 31st January 2025 Full-day rehearsals: 8th March, 29th March, 10th May Extended rehearsals: 23rd May, 30th May, 6th June, 13th June (4:00 – 7:30 pm) Required Age: Open to students in Grades 7–9. Production Website: ROCKIT Productions 2025 Program Other Information: Costume hire fee: $40 (additional to term fees). Discount packages and payment plans available. Technical dance class required for Intermediate students.

Title: Curtains Presented By: ROCKIT Productions Genre: Musical Theatre About the Program (SENIORS) This production is part of our Elite SENIOR Program for students in Grades 10 to 12. Many of our SENIOR students are wishing to pursue a career in the arts while others are here for the love of musical theatre. If you love to sing, act and dance, this course could be right for you. Synopsis: Set against the dazzling backdrop of 1950s Broadway, Curtains is a darkly comedic murder mystery filled with toe-tapping numbers and unexpected twists. When the leading lady of a troubled musical dies on opening night, the cast and crew become suspects. Enter Lieutenant Frank Cioffi, a detective and theatre enthusiast, who must solve the crime while ensuring the show goes on. With music by John Kander and lyrics by Fred Ebb (Chicago, Cabaret), this musical captures the heart of Broadway with a contemporary flair. Audition Details: Auditions: Saturday, 25th January 2025 (10:00 am – 3:30 pm) Callbacks: Saturday, 25th January 2025 (4:00 pm – 7:30 pm) Audition Time: Auditionees will be scheduled for 90-minute sessions Audition Location and Address: ROCKIT Launchpad Studios, 36 Old Cleveland Rd, Capalaba, QLD 4157 Audition Requirements: Auditions will be workshop-style to ensure a relaxed and fun experience, focusing on finding the best roles for each performer. Performance Dates: Tech Rehearsals: Saturday, 21st June 2025 Sunday, 22nd June 2025 Shows: Thursday, 26th June 2025 (Evening) Friday, 27th June 2025 (Evening) Saturday, 28th June 2025 (Two shows) Sunday, 29th June 2025 (Two shows) Performance Location: The Launchpad Theatre, 36 Old Cleveland Rd, Capalaba, QLD 4157 Rehearsal Dates: Weekly Classes: Wednesdays, 5:00 – 7:30 pm, starting 29th January 2025 Full-Day Rehearsals: 15th February, 22nd March, 26th April, 17th May Extended Rehearsals: 4th June, 11th June, 18th June, 25th June (4:00 pm – 8:30 pm) Required Age: Open to students in Grades 10–12. Production Website: ROCKIT Seniors Program Other Information: Costume hire fee: $70 (additional to term fees). Technical dance class required as a prerequisite. Discount packages and payment plans available.

Title: Thursday’s Child Presented By: Javeenbah Theatre Company Genre: Surreal Drama Synopsis: Tin Flute was born on a Thursday and has always felt at home in the subterranean tunnels he digs under his family’s farm. As his family struggles to survive during the Great Depression, Tin delves further into his underground world, filled with darkness and secrets. Based on Sonya Hartnett’s award-winning novel, this stage adaptation by Eva Di Cesare, Sandra Eldridge, and Tim McGarry is a surreal and moving exploration of memory, fate, and resilience against misfortune. AUDITION DETAILS: Audition Date: Saturday, February 8th, 2025 Movement Call: 10:00 am – 11:00 am Individual Auditions From: 11:30 am onwards Location: Javeenbah Theatre Company,Cnr Stevens & Ferry Streets, Nerang Audition Requirements: All applicants must attend the movement call wearing comfortable clothing and bring water. Prepare a 1-2 minute monologue in the style of the play (Australian accents preferred). Be prepared for a possible cold-read from the script. Applicants must be aged 18 or over. Audition Registration: Audition Form Audition Pack: Download the Audition Pack Available Roles: Harper Flute (Female Presenting, Playing Age 7-12 & 23): Spirited and brave storyteller. ‘Da’ Court Flute (Male Presenting, Playing Age 30-40): A poor, defeated farmer. ‘Mam’ Thora Flute (Female Presenting, Playing Age 30-40): Strong and stoic mother. Audrey Flute (Female Presenting, Playing Age 14-19): A romantic and wilful teen. Devon Flute (Male Presenting, Playing Age 12-17): A hopeful dreamer. Tin Flute (Male Presenting, Playing Age 4-9): A mute boy who communicates through actions and physicality. Caffy Flute (Puppet, Playing Age 0-4): The youngest sibling, requiring 3-4 puppeteers. Mr Vandery Cable (Male Presenting, Playing Age 30-50): Powerful and opinionated pig farmer. Mrs Rose Murphy/Traveller (Female Presenting, Playing Age 30-40): Forthright, kind-hearted busybody. Mr Jock Murphy/Traveller (Male Presenting, Playing Age 30-40): Nervous yet kind-hearted farmer. Rehearsal Details: Start Date: February 13th, 2025 Schedule: Tuesdays: 7:00 pm – 10:00 pm Thursdays: 7:00 pm – 10:00 pm Sundays: Varying times Performance Dates: May 10th – 24th, 2025 Evening Shows: 7:30 pm Matinee Shows: 2:00 pm Warnings: This production contains sensitive themes, including death, alcohol abuse, firearms, physical abuse, sexual assault, and child loss. Recommended Age: 18+ Production Website: Visit Javeenbah Theatre Other Information: All successful auditionees must become financial members of Javeenbah Theatre for $10 For questions, contact thursdayschildjbah@gmail.com or artisticdirector@javeenbah.org.au

Title: Jane Austen's Lady Susan Presented By: Lockyer Regional Performing Arts (LRPA) Genre: Dramatic Comedy, Literary Adaptation Synopsis: Jane Austen's comic novella comes to life in Rob Urbinati's witty stage adaptation. Lady Susan, a young widow, arrives unannounced at her brother-in-law’s country home, bringing her clever yet guileless daughter. Her plans to find suitors for both herself and her daughter lead to a whirlwind of schemes, unexpected rivals, and hilarity. Audition Details: Audition Dates: Saturday 22 February 2025 and Sunday 23 February 2025 Audition Time: 12:00 PM – 4:00 PM Audition Location and Address: My Care Physio & Therapy, 16 William St, Gatton, QLD Audition Requirements: Perform a cold read from provided script sides. Auditions will last approximately 15 minutes, with opportunities to ask questions about the production. Registration is required. Email grace.crichton91@gmail.com with your name, contact details, role(s), and preferred audition slot. Audition Pack: Download Audition Pack Available Roles: Lady Susan: 30s, manipulative, attractive widow. Frederica: Teens, clever and guileless daughter of Lady Susan. Charles Vernon: 30s, patient and obliging brother-in-law of Lady Susan. Catherine Vernon: 20s, Charles’ suspicious wife. Reginald De Courcy: 20s, Catherine’s dashing younger brother. Alicia Johnson: Older, Lady Susan's confidante. Sir James Martin: 30s, wealthy but dimwitted bachelor. Performance Details: Performance Dates: Thursday 3 July 2025, 7:00 PM Friday 4 July 2025, 7:00 PM Saturday 5 July 2025, 1:00 PM & 7:00 PM Performance Location: Gatton Shire Hall, 52 North St, Gatton QLD Rehearsal Details: Rehearsal Dates: Saturdays from 1 March – 28 June 2025 Rehearsal Location: Anglican Church Hall, cnr Railway & Spencer St, Gatton Tech week from 29 June – 1 July 2025 Warnings: This is an unpaid community theatre production. Required Age: 16+ Crew: Non-performing roles are available, including stage crew, lighting, sound, and stage management. No prior experience is necessary. Production Website: LRPA Official Website

School of Rock  Hits All the Right Notes It was one of those classic Brisbane days where the weather couldn't make up its mind—rain, sun, maybe a bit of both, who knows? But inside the Talbot Theatre at the Thomas Dixon Centre, there was no such confusion— School of Rock by Communication in Action was a rocking hit! From Screen to Stage in Record Time This turbo-charged junior show was the culmination of months worth of preparation and a six-day holiday workshop for the majority of the cast. It brought together students from Year 2 to Year 12, all united by their shared love for music, theatre, and rocking out. Inspired by the beloved 2003 film and featuring new tunes by the legendary Andrew Lloyd Webber, the story follows Dewey Finn, a rock guitarist whose career hit the skids, only to stumble into a gig as a substitute teacher at a stuffy private school. Instead of sticking to the curriculum, Dewey uncovers the students' musical talents and whips them into a band to compete in the epic Battle of the Bands. It's a tale of rebellion, self-discovery, and transformative power of rock music.   The Adults: Bringing the Magic Together Leading the charge as Dewey Finn, Tim Carroll delivered a powerhouse performance, easily channeling Jack Black’s chaotic energy while making the role entirely his own. With electrifying energy fuelled by the young cast and killer vocals that could shatter glass (in a good way), he had the audience laughing, cheering, and (if you’re me) frantically Googling, “how high is the belt in the School of Rock opening number?” Belting an A4 over and over again is no small feat! In his performances of 'When I Climb to the Top of Mount Rock' and ' You’re in the Band ', Carroll balanced the raw rock grit with the polish of musical theatre and the unbelievable stamina of a true professional, channeling the essence of the original Dewey, Alex Brightman.   Opposite him, Jordan Twigg exuded elegance and authority as Rosalie Mullins, the school’s principal. Her role demanded soaring high notes for ' Horace Green ', while her heartfelt solo, 'Where Did the Rock Go?'  stood out as an emotional highlight with remarkable belting. During the 20 glorious seconds of the bridge, her performance left me completely breathless (you had to be there). It was a beautifully tender moment amidst the chaos, and as a fellow music teacher, it deeply resonated with me. The Cast: Kids with Killer Talent Saana Chang as Tomika had everyone falling head over heels as her timid wallflower character morphed into a rock star with enough swagger to rival Mick Jagger. Her a cappella rendition of 'Amazing Grace' for the band singer audition was so mesmerising that you could hear a pin drop in the theatre, leaving the audience completely spellbound. She followed it up with a heartfelt reprise of 'If Only You Would Listen' and a passionate solo feature in 'Teacher's Pet'. Mahin Singh (Zach) rocked out as the band's lead guitarist, while Henry Woodward (Freddy) kept the beats tight on drums. Xavier Loxton (Lawrence) killed it on the keys and Ariella Meehan (Katie) was effortlessly cool as the bassist. Darci Allen (Shonelle) and Emily Carrick (Marcy) rounded out the band with their beautiful backup vocals. Together, they brought the band's dynamic to life, each playing their part to perfection. The song 'If Only You Would Listen' offered a window into the personal lives of their characters. Their performance poignantly explored their struggle to satisfy their parents while feeling perpetually overworked and overlooked. The song's depth underscored the intellectual and emotional intelligence of their young characters, offering a glimpse into the pressures they faced each day. Holly Kenyon as Summer, the overachieving student turned band manager, was a whirlwind of energy. Leading the number 'Time to Play,'  she brought a level of intensity and stamina that perfectly matched her character’s bulldozer-like determination. Kenyon’s performance infused Summer with a driven, no-nonsense attitude that made her impossible to ignore. A big shoutout to Ted Hagley as Billy, the band stylist, who stole every scene he popped into! With his dramatic flair and adorably confident stage presence, he had the audience eating out of the palm of his hand. The short cameos featuring Tomika’s dads, Hamish Treweeke and Noah Byrne, were hysterical and kept the audience captivated by their antics.   Special mentions also go to Harry Morgan as Ned and Lucie La Saveant as Patty. Morgan brought a down-to-earth charm to Ned, skillfully balancing his passivity with intense bursts of rage when the moment called for it. Meanwhile, La Saveant dazzled in her solo, 'Give Up Your Dreams,' belting out notes with the power and stamina of a professional. Among a highly talented cast, certain performers undeniably stood out, giving 110% in every scene. Their unwavering commitment to their roles shone through, with expressive faces and energy that reached the very back row. While I could name names, I’ll leave it to the audience to decide their favourites—after all, this cast was brimming with talent!   'Teacher’s Pet,' was everything you’d want from a finale: loud, high-energy, lengthy, and pure fun. By the time the encore rolled around—AC/DC’s 'It’s a Long Way to the Top' —the entire theatre felt like it had transformed into a rock concert. It was the perfect send-off to a high-octane show. It is worth noting that the "band" was elevated but positioned far-upstage. While practical, it did create a large distance between them and the action/audience, though their impact on the final performance was still undeniable!   Design and Space The creative team truly outdid themselves. Directed by the legendary Tim Hill, with music direction by Stephanie Taylor and choreography by Natalia Hines, this production of School of Rock proved to be far more than just a fun summer project—it was a polished showcase of young talent, high energy, and a lot of heart. Hill’s direction ensured a fast-paced show while keeping the massive ensemble fully engaged and involved. The older teens donned their best "adulting" personas as the parents and teachers, while the younger cast played the Horace Green students. Even the smaller moments—like the Guitar Hero session or the Stevie Nicks jukebox scene—had the ensemble cast somehow involved in the action. This attention to detail brought the world of School of Rock alive and gave every performer multiple chances to appear. The themes of the show—self-expression, breaking free from societal expectations, and finding your voice—resonated beautifully, thanks to Hill’s ability to balance heartfelt moments with humour.   Stephanie Taylor's music direction kept the energy high, guiding the cast through challenging and dynamic numbers with finesse. Taylor’s work brought out the best in the cast, from the belted anthems of 'You’re in the Band' to the soulful harmonies of 'If Only You Would Listen ' to the lung-busting 'Stick It to the Man' . The music playback flowed smoothly and the tight scene transitions underscored the polished nature of the production, ensuring that every song landed with impact. Natalia Hines’s choreography was a perfect blend of youthful energy and rock-and-roll spirit, making good use of the expansive stage typically reserved for grand ballet performances. 'Stick It to the Man' stood out as a showstopper, featuring impressive acro by Saana Chang and Holly Kenyon. The playful use of hair-ography (those flying pigtails and plaits!) added extra flair to the routines. Hines crafted choreography that was both edgy and suited for the large cast, aiming to make every moment visually engaging, particularly when they were positioned downstage. Let’s take a moment to appreciate the technical side of this production. The costumes—plaid uniforms for a small army of kids—were not just impressive in quantity but in their detail. The projections were like high-tech, immersive portals, zipping the audience from one setting to another. The polished sound design guaranteed that every lyric and joke landed, with the cast delivering (unsurprisingly) excellent enunciation. The lighting maintained the large space's visual dynamism, ensuring the show's energy was felt from every corner of the venue. Having never set foot in the Talbot Theatre before, I was blown away by its stage—by its spacious stage and incredible acoustics—perfect for a production of this scale. This junior version of School of Rock crammed as much heart and talent into 90 minutes as the full-length show. The audience cheered with admiration, laughed hard (I’m sure my cackling from the third row echoed like a hyena), and left with full hearts and sore hands from clapping. As a music teacher, I was profoundly touched by the central theme of School of Rock : guiding students to discover their voice and gain the confidence to express it. Observing these young performers experience that journey on stage felt like a beautiful extension of my own work, and it was a privilege to witness their transformation into rock stars.   To the 80+ children involved, you were all absolutely fantastic! From the big soloists to the tiniest ensemble member, each and every one of you contributed to making this production of joyful triumph. Bravo to Communication in Action for giving these kids such a fantastic opportunity to shine. If you’re ever considering a holiday workshop, don’t walk— rock  your way over to Communication in Action!

Guest Writer: Sophie Mason During a particularly rainy weekend, the sun definitely came out in Warner for Brisbane Musical Theatre’s production of ' Annie .' Featuring performers young, old and even the dog variety, ‘ Annie ’ tells the story of a young orphan and her journey to rise above her circumstances. Annie and her friends are under the thumb of the tyrannical Miss Hannigan (Meg Kiddle). However, when billionaire Oliver Warbucks (Andrew Dark) invites Annie to his home, her situation is quickly transformed. ‘ Annie ’ is a story of hope, optimism and believing that even the darkest clouds will clear. Hosted at Emerge Church, the simple yet effective technical elements effectively centred the audience’s attention and shifted time and place throughout the production. Backgrounds were projected onto the back wall of the stage and worked wonders in adding atmosphere and context. A particular highlight was the New York City sunset which created silhouettes of the bridge and basted the beggars in a warm light as if they were on the streets of New York. Lighting design by Spencer Mitchell, firmly supported the locations of each scene and mimicked the colours within the backgrounds. Actors were well lit at all times and the use of the spotlight - operated by Jhaelein Le Moyne - ensured that the audience’s eye was led to the action on stage. Set design and construction by Jose De Andrade and Jesse Bradford ensured scenes transitioned swiftly and effectively. There were enough elements on stage to delineate time and place, however, not too many to create lengthy change overs. Double sided trusses and small tables and props were all on wheels to seamlessly get items on and off the stage. Stage manager Sara Reynolds Thomas and her team were a well oiled machine and pulled off every set change with ease - a feat often not achieved on opening night performances! Costuming by Sandie Mitchell and Andrea Halter was detailed and generally historically accurate. The class divide was clearly delineated with costuming, with the ensemble transforming from beggars on the street to the well-polished servants of Daddy Warbucks. The comedic caricatures of Miss Hannigan, Rooster (Jesse Bradford) and Lily St Regis (Tamsyn Doyle) were reflected in their clothing. From the bejeweled Miss Hannigan to the larger-than-life stylings of Rooster and Lily, all characters were well represented. Direction by Jack Bradford and Jose De Andrade was considered and effective. For a production that’s known for its show-stopper numbers, it was lovely to see moments of tenderness throughout the production. Mark Beillby nailed the iconic Annie soundtrack with his nine-piece orchestra. It was a powerful moment to hear the iconic song ‘Tomorrow’ with such strong backing. All songs were elevated under the direction of Bielby with ensemble vocals having layered harmonies and all leads solid in their vocal tracks and dynamics. Sound by Stephen and Neil Moodie was well-balanced and clear. Choreography by Jada Parsons was perfectly tailored to the skill level of those  in the cast and allowed everyone to shine. A particular highlight was ‘You’re Never Fully Dressed Without a Smile’ where the orphans broke out their tap shoes and were able to show off the incredible talents in the youth ensemble. Whoever said never work with children or animals clearly hadn’t seen this production of ‘ Annie ’! The orphans were switched on and in character at all times with gorgeous vocals and acting choices to boot. It was so lovely to see the rapport that has clearly been built amongst this group of young stars. There were great moments of comedy, particularly during the scenes where the orphans are interacting with Miss Hannigan. Olivia Cowdrey as Molly was particularly magnetic and brought the perfect level of sass, heart and humour to the role. Many of the adult ensemble doubled as named characters within the production. Highlights included Kiana Tann’s flawless vocals as the Star to Be, Kaelan Tann’s shoe tap routine, Robyn Lupton’s exchanges at the white house and Mark Westaway as the ever-present and always helpful Drake. The adult ensemble worked well as a group to bring dimension to the production. A highlight was the gritty number, 'We’d Like to Thank You, Herbert Hoover.' Their dynamic energy and sharp character work was a joy to watch. Stuart Fisher delivered a standout performance as both the booming President Roosevelt and the charismatic Bert Healy. His ability to distinctly separate the two characters through nuanced characterisation was impressive, and his comedic timing added depth and humour to each role. Jesse Bradford as Rooster and Tamsyn Doyle as Lily St. Regis brought charm and mischief to their roles as two-thirds of the greedy trio, rounded out by Meg Kiddle's commanding and hilariously brash Miss Hannigan. These three comedic powerhouses blended sharp physical comedy with their vocal performances, creating a dynamic portrayal of the bumbling villains. Samantha Hancock was perfectly cast as Grace Farrell, bringing crystal-clear vocals and beautiful balance of gentleness and strength to the role. It was a delight to watch her relationships with both Annie and Warbucks blossom on stage. Playing alongside her, Andrew Dark delivered a captivating performance as Daddy Warbucks, combining powerful yet tender vocals with touching vulnerability. His portrayal conveyed the emotional journey of a man grappling with the complexities of his newfound relationship with Annie. Saana Chang Saana Chang delivered a magnetic and charismatic performance as Annie (shared with Asher Tweddell), captivating the audience with her charm and natural stage presence. She infused the role with humour and warmth, and hit the iconic high notes with ease. Her interactions with Sandy the dog, played by Saffie the golden retriever, were particularly heartwarming and definitely melted more than a few hearts in the audience. Chang brought a fresh vibrancy to the iconic character and easily connected with others on stage. Asher Tweddell The heartwarming message of love, resilience, and hope shone brightly in Brisbane Musical Theatre’s first production of 2025. ‘ Annie ’ reminded audiences of the power of optimism and the importance of family—whether chosen or found.

Title: Legally Blonde JR Presented By: Second Star Youth Theatre Genre: Musical Theatre Synopsis: Based on the award-winning Broadway musical and the smash-hit motion picture, Legally Blonde JR. is a fabulously fun journey of self-empowerment and expanding horizons. The show follows Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. When Elle's high school boyfriend, Warner, dumps her for not being "serious" enough, she takes matters into her own hands and follows him to Harvard Law. Along the way, with help from classmate Emmett, hairdresser Paulette, and her Delta Nu sisters, Elle realises that law may be her natural calling after all. Audition Date: Saturday 22 and/or Sunday 23 March (Afternoon) Audition Location and Address: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Audition Self-Tape Due (if applicable): If unavailable for auditions, video submissions will be accepted. Indicate unavailability on the registration form. Audition Requirements: Auditions will be conducted as a workshop using the iTheatrics method. Participants will learn an ensemble song from the show and perform for the creative team and fellow castmates. No preparation required—just come along, be yourself, and give it your best shot! Audition Registration: Register Here Audition Pack: Download Here Available Roles: Elle Woods – Confident, bubbly, and intelligent, Elle proves that she's more than just a blonde sorority girl. A triple-threat performer role. Gender: Female. Vocal range: F#3 - C#5 Emmett Forrest – Hardworking and determined law student who believes in Elle and falls for her. Gender: Male. Vocal range: B2 - A4 Paulette Buonafonte – Outspoken and warm-hearted hair salon owner, Elle’s close friend. Gender: Female. Vocal range: A3 - A5 Warner Huntington III – Elle’s ex-boyfriend, good-looking and charming but self-absorbed. Gender: Male. Vocal range: Eb3 - Ab4 Vivienne Kensington – Uptight and serious law student who initially looks down on Elle but later supports her. Gender: Female. Vocal range: A3 - F5 Brooke Wyndham – Energetic fitness queen on trial for her husband’s murder, Elle’s sorority alum. Gender: Female. Vocal range: A3 - G5 Professor Callahan – Ruthless and manipulative law professor. Gender: Male Margot, Serena, Pilar – Elle’s energetic and loyal best friends and sorority sisters. Gender: Female. Vocal range: C#5 - F#3 Featured Roles: Kate – Delta Nu sister. Winthrop, Lowell, Pforzheimer – Harvard admissions officers. Aaron, Sundeep, Enid – Law students. Whitney – Law student. Dewey – Paulette’s ex-boyfriend. Chutney Wyndham – Brooke’s stepdaughter. Kyle – UPS delivery man. Kiki – Salon colorist. Grandmaster Chad – College party boy. Ensemble Roles: Waiters, Delta Nu sorority sisters, Frat Boys, Greek Chorus, Law Students, Prison Inmates, Salon employees/clients, and more. Every performer will be featured on stage! Note: Genders listed pertain to the gender identity of the character, and performers of all genders may be considered for all roles. Performance Dates: Saturday 12 April 2025 Performance Times: 3:00 PM & 6:00 PM Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School Cnr Cavendish Rd & Holland Rd, Holland Park Rehearsal Dates: Monday 7 – Friday 11 April 2025 Rehearsal Times: 9:00 AM – 4:00 PM daily Rehearsal Location: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Other Information: Required Age: 10-18 years (as of 12 April 2025) Creative Team: Director/Music Director: Lauren McNamara Choreographer: Isabella Maric Warnings: This show acknowledges themes of prejudice, sexism, and sexual harassment. Rated PG. Participation Fee: $320 per participant (inc. GST). Participation includes rights, royalties, creative and technical professionals, venue hire, sets, props, costumes, marketing, and more. Each participant will receive a script, production t-shirt, and dinner on performance day. All who audition will be cast in the show. Participants may be asked to provide some costume pieces from their wardrobe.