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Experience Hosts & Suit Character Performers Step 1:  Download and prepare the required audition material and paperwork for your role. Click here to download job descriptions Step 2:  Record and submit audition content by Friday, August 16th, 2024 . Please include a slate with your name, location, and a brief introduction that shows your personality. (Self-tape tips: Film horizontally, stay in frame, ensure good lighting and sound) Click here to download audition script If you only wish to be considered for Suit Character Performer, you won’t need to submit an audition script video. Step 3:  You will be contacted by a member of our recruitment team with your outcome. Successful candidates can expect to be contacted from early September 2024. Step 4:  Successful applicants will be invited to attend an in-person audition on Monday, September 9th, or Tuesday, September 10th, which will include plenty of flossing, physical theatre and improv games, team-building exercises, suit character costume testings, and of course, plenty of Bluey shenanigans! Step 5:  Interview with the recruitment team. Step 6:  Successful applicants will be contacted by our recruitment team. Step 7:  Training and rehearsals commence – October 14th – November 3rd. Step 8:  Bluey’s World opens November 7th, 2024 - Wakadoo! Apply Here:  Click here to apply Other Information: Experience Host:   Job Description The primary role of the Experience Host is to guide guests through the immersive experience in character, ensuring a memorable, magical, and enjoyable experience for visitors. This role requires high energy, strong storytelling abilities, and performing experience, particularly performing to a young demographic. Suit Character Performer:   Job Description You will take on the role of playing either Bluey or Bingo for Meet & Greets at Bluey’s World. The role requires a certain level of fitness, endurance, and high energy to ensure a memorable and enjoyable experience for our visitors. Prior experience as a Suit Character Performer is preferred. The maximum height for either suit is 165cm (Ideal range 155cm – 165cm). Applicants Must Be:  At least 16 years of age Venue:  Northshore Pavilion, 281 MacArthur Avenue, Hamilton, QLD 4007 Required Skills for Both Roles: Physical fitness and ability to maintain performance energy. Proven performing experience with live audiences, particularly a young demographic. Teamwork and effective communication skills. Adaptability and problem-solving under pressure. Desirable Skills: Experience as a Suit Character Performer or in child-centric environments. Multilingual abilities. Chaperoning skills. Puppeteering experience. Qualifications: Valid QLD Blue Card for working with children.

Set in the vast expanse of the Australian outback, Horizon emerges as a gripping theatre production that intertwines elements of thriller, drama, and social commentary. Conceived by playwright Maxine Mellor and presented by Playlab Theatre, this story delves deep into the psychological and emotional landscapes of its two characters, Sky and Cole. Horizon follows the journey of a young couple driving to Cole's family home to say goodbye to his dying father. Cole, an aspiring filmmaker, and Sky, a successful lawyer, embark on what begins as a playful road trip that quickly transforms into a suspenseful drama. The discovery of an old cassette mixtape with a disturbing recording of teenage Cole unearths buried secrets and triggers a cascade of revelations. Cole's self-proclaimed "Mr. Nice Guy," façade crumbles, exposing his lack of true compassion and revealing a sinister, unhinged side that contrasts sharply with Sky's strong, feminist stance. As they debate the infamous Lindy Chamberlain case, encounter dingoes, and confront their own troubled pasts, the journey becomes increasingly tense. Sky must navigate Cole's unravelling psyche in this isolated setting, while coming to grips with the unsettling truth about her boyfriend. An eerie soundscape fills the air as you settle into your seats, instantly immersing you in the tense atmosphere. The stage setup includes a classic Ford sedan on a revolving platform, flanked by two screens to project the road behind. The absence of glass in the car allows for fluidity for the actors' frequent entrances and exits through the car's openings. The performance begins with Cole and Sky engaging in a playful enactment of a zombie horror movie trailer. Maxine Mellor's script shifts between light-hearted humour and dark themes to capture the changing dynamics between the couple. Multiple times, the story halts as Cole or Sky climb onto the car to express their inner reflections in the style of slam poetry. Ashlee Lollback and Julian Curtis deliver electrifying performances. The physical constraints of driving—the need to keep hands on the wheel and eyes on the road—require the actor in the driver's seat to convey a range of emotions through facial expressions alone. Julian Curtis brings an unsettling intensity to his performance. Characterised by Cole's habit of narrating situations as if they are movie trailers using a dramatic deep American voice, he adds a layer of dark humour that reveals his desire for control. Curtis adeptly portrays Cole's descent into mania, his smile morphing into a menacing snarl as Sky begins to question his emotional detachment from his father and possible violent tendencies. Bloodied from an accident and triggered by Sky's persistent 'cross-examination', Cole's physicality becomes increasingly alarming and intimidating. The pivotal scene where Cole forces Sky back into the car, speeding recklessly down a dark dirt road while hurling cruel insults, is a testament to Curtis' ability to evoke genuine fear and revulsion. Cole's delusions of romance are met with groans of discomfort and nervous laughter from the female audience members, highlighting the unsettling familiarity of his entitled behaviour. Lollback's portrayal of Sky is multi-faceted, masterfully balancing the character's strength, vulnerability, and sharp intellect. The escalating suspicion and fear that Sky experiences are conveyed with gripping intensity, culminating in a dramatic confrontation that leaves the audience on the edge of their seats. As Cole’s true colours are revealed: entitled, desperate, and incapable of change, they contrast sharply with Sky’s evolving strength. Lollback's delivery of Sky's empowering "I am More" monologue is a poignant moment that deeply resonates. As a woman, I found myself deeply empathising with Sky's position, particularly as Cole's unsettling behaviour and emotional manipulation become increasingly apparent. David Walters' lighting design, Nathan Sibthorpe's visual design, and Guy Webster's sound design are integral to the production's success. The projections of the road, which transition from clear lines to blurred ones as the sun sets, are used as a narrative device, transforming the stage into an ever-changing landscape that mirrors the characters' psychological disorientation. By utilising car lights and interior illumination, the car itself is transformed into a potent character within the play. The sound design is equally immersive, with a carefully curated mix of music and effects that heighten the tension. Ian Lawson's direction of the play ensures a cohesive progression that builds suspense throughout. The scripted discussions are laden with subtext to offer more insight into their true emotions than their actions do. Memorable lines like "Sometimes all it takes is just a little shallow scratching to find the darkness in men" and "Shades of grey - I didn't say yes but I didn't say no" lingered with me long after the show. The character development is meticulously crafted, particularly in Cole's gradual transformation from a seemingly charming partner to a menacing presence, prompting the audience to constantly reevaluate their perception of him. Similarly, Sky's evolution from a confident professional seeking escape to a woman confronting her deepest fears is both empowering and heartbreaking.   The audience's reactions throughout the performance—from nods of recognition to audible gasps—are a testament to the play's gripping narrative and emotional depth. Horizon is more than a captivating theatrical performance; it is an experience that challenges the audience to confront the unsettling complexities of identity, relationships, and the darkness that lies within. Horizon is playing at the Brisbane Powerhouse until 10 August. Tickets available here. Wednesday 7 August 2pm offers a "Pay What You Wish" performance. To secure your spot, please register here . Advisory : Recommended for ages 15 and above. Includes adult themes, coarse language, sexual references, and simulated violence.

The Thrill of Love , presented by Centenary Theatre Group, explores the real-life story of Ruth Ellis. If, like me, you are have no idea who that is, she was the last woman to be executed in Britain. With Amanda Whittington's insightful script and Ashleigh Cates' thoughtful direction, this play invites its audience to ponder the blurred lines between victim and perpetrator. Set against the backdrop of 1950s London, the stage is adorned with period-appropriate furnishings and a well-equipped bar that not only sets the scene but also subtly reflects the characters' social milieu. The play opens with a dramatic bang—literally—as Ruth, played by Shelby Renton-McCarthy, fatally shoots her lover David with calm detachment. Note: I think it's important to familiarise oneself with basic details of Ruth Ellis' case beforehand to better understand the storyline. The cast delivers their performances with natural ease and authentic British accents, crafting a convincing and captivating depiction of this turbulent era. Renton-McCarthy brings Ruth Ellis to life with an unfiltered portrayal of a woman (and mother of two) torn apart by passion, violence, and societal struggles. Her performance captures Ruth's tough exterior and inner vulnerability to paint a vivid picture of a complex and enigmatic individual.   Isaac Tibbs as Inspector Jack Gale distinguishes himself with his purposeful and measured delivery, grounding the narrative with his engaging presence. He narrates the investigation's interludes through eloquent dialogue, engaging the audience with eye contact and attentively watching the unfolding flashbacks with us as an outside observer. Annie Filion brings a magnetic charm to Vicki Martin, Ruth's colleague turned close friend whose tragic end significantly affects Ruth's mental state. With her ambition, quirky demeanour, and allure, Filion crafts a memorable character. Hannah Davies plays Sylvia Shaw, the proprietor of the gentlemen's club where Ruth and Vicki are employed. She grapples with the dilemma of whether to offer support or enforce a firm hand with Ruth, truly embodying Sylvia's loyal but direct personality. The introduction of Doris, a character in the story thought to be based on Ruth's mother or a close friend, serves as a compassionate contrast to Ruth's unpredictable behaviour. Doris consistently stands by Ruth, offering her unwavering support and protection, even at the expense of her own well-being. Genevieve Whittred portrays Doris with a kind and nurturing attitude, providing a sense of comfort, particularly in the intense scenes discussing domestic violence. The disclosure of Ruth's miscarriage following an argument where David punched her in the stomach is a confronting moment that underscores the harsh realities of Ruth's life and her dependence on abusive men to avoid poverty. The costumes and wigs are generally elegant and appropriate for the period, with the exception of a strikingly bright red wig that prompted a humorous comment from an elderly audience member about the improbability of such a sight in 1955 London. The timeline of the play shifts frequently, moving between the present and the past, which might pose a challenge for some viewers. Nevertheless, this fragmented format allows for a deeper exploration of Ruth's psyche and the events that led up to her crime. We witness Ruth's descent into despair, driven by her multiple tumultuous relationships. David and Desmond, two significant lovers of hers, are not physically present in the narrative but their influence on the story is undeniable.   In the climactic scenes of the trial, Ruth's lack of remorse and her 'dolled-up' appearance perplexes everyone. In Holloway Prison, Sylvia and Doris visit Ruth and reveal the widespread controversy her case has ignited. The play concludes on a sombre note, a haunting reminder of the case's influence on British society and the subsequent abolishment of the death penalty. Renton-McCarthy portrays Ruth's stoic acceptance of her fate, her lack of regret, and her preference for a swift death rather than a lifetime of imprisonment in a chilling but empathetic manner.   The Thrill of Love is a compelling and emotionally impactful show that challenges its audience to confront tough questions concerning justice and morality. It serves as a reminder of the fragility of life and the devastating consequences of love gone awry. Now playing at Chelmer Community Hall until August 11th, 2024. Tickets available here

Title:  Sir Terry Pratchett’s The Fifth Elephant Presented By:  Brisbane Arts Theatre Genre:  Fantasy/Comedy Synopsis: In this stage adaptation of one of Pratchett’s best-selling novels, Commander Vimes is sent to the icy, Transylvania-like realm of Uberwald to build trade relations with the Dwarf King. But his mission soon takes a turn as he finds himself trying to prevent an inter-species war. He’s not alone, though; he’s accompanied by a talking dog, a reformed vampyre, and a self-made man—evident from the stitches that still mark his construction. What begins as an official diplomatic mission quickly deteriorates. Vimes ends up as a fugitive in the frigid woods, wearing nothing but the gloomy trousers of Uncle Vanya, and being hunted by a pack of rule-breaking fascist werewolves. Audition Date:  Sunday, 11th August 2024 Audition Time:  11:00 AM to 5:00 PM (one-hour slots) Audition Location and Address:  Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: Age Requirement: 16+ Please wear comfortable clothing that you can easily move in. Prepare a 1–2-minute monologue from a Pratchett play or in the style of Pratchett, based on your character preference. Cold reads will also be completed on the day. Auditions will be in groups with up to 10 people per slot. Audition Registration:   Register Your Interest Audition Pack:   Audition Details PDF Available Roles: Gaspode Lord Vetinari Commander Vimes Lady Sybil Captain Carrot Corporal Littlebottom Glum Sister Sergeant Detritus Willikins Sergeant Colonescue Inigo Skimmer Sergeant Angua Rhys Rhysson Albrecht Albrechtson Dee Lady Margolotta Igor Baroness Baron Chief Bandit Dwarf Guard Gavin Glum Sisters Bandits Werewolves Various Other Characters Performance Dates: Saturday, 19th October 2024 - Opening Show Friday, 25th October 2024 - 8:00 PM Show Saturday, 26th October 2024 - 7:00 PM Show Sunday, 27th October 2024 - 2:00 PM Matinee Thursday, 31st October 2024 - 8:00 PM Show Friday, 1st November 2024 - 8:00 PM Show Saturday, 2nd November 2024 - Closing Show (7:00 PM) Rehearsal Dates: Monday and Wednesday nights: 7:00 PM - 10:00 PM Sundays: 3:00 PM - 8:00 PM Technical rehearsals: Sunday, 13th October to Friday, 18th October Production Website:   www.artstheatre.com.au

Upon entering the eerie basement confines of Evilcorp Horror Maze and Bar, I was thrust into the whimsical world of “Spooky Dog and the Teenage Gang Mysteries,” presented by The Drama Merchant. This zany escapade parodies Scooby-Doo with plenty of improv and raunchy humour. The venue was transformed into a playground for this spoof, with the entire space—the stairs, the bar, cabaret tables, and even the maze itself—used as the stage. Written in 2008 by Eric Pliner and Amy Rhodes, the show follows a team of friends who solve mysteries - including leader Ted, clueless Tiffany, clever Thelma, hungry Scraggly, and their talking pooch Spooky Dog - as they investigate the disappearance of a celebrity at a creepy county fair. Directed by Nathan Schulz, this production was as delightfully unpredictable as the wheel of fate spun before the show. On the day I attended, the audience randomly chose none other than the legendary Jesus Christ himself as the kidnapped celebrity, along with a random prop and quote for the actors to incorporate; a different selection for each show. From the beginning, it was obvious that this play was anything but ordinary. The actors were provided with a script and scenario to work with - Jesus Christ being abducted by what appears to be a maze phantom - but the rest was up to their improvisational skills. This setup resulted in a whirlwind of impromptu humour and brilliant chaos. The improv aspect proved to be both a blessing and a challenge, as the actors occasionally struggled to synchronise their improvisation without talking over each other. I learned that about 70% of the performance I saw was improvised, which I find incredibly impressive; plus it makes each show one-of-a-kind. While the show was a tad lengthy and not every joke landed as intended — possibly due to the busy nature of the show — the overall experience was a riot. A real highlight was the show's self-awareness. The actors roasted the local Fortitude Valley scene, sprinkling an extra dose of meta-humour into the mix. The performers didn't shy away from breaking the performer-audience barrier; especially when a few brave souls got pulled into the act. We even found ourselves right in the middle of a wild chase scene inside the horror maze, with "Ballroom Blitz" blaring in the background as we ran away from the phantom alongside the characters.   The Characters: Spooky Dog (Mikayla Melo) : As the titular character, Melo infused the mix of cowardice and goofiness that is characteristic of this beloved and well-known canine. Her character's interactions with the audience and fellow cast members never failed to bring laughter, especially while miming an entire scene with an audience member. Thelma (Jay Louise Clark) : Clark really turned the nerdy character trope on its head. She played Thelma in a delightfully different (and canonically legit) way, dropping plenty of sexual innuendos about her crush on Tiffany. And when she got trapped in a giant cage, Clark hilariously riffed on JC (Jesus Christ) in a spontaneous comedic routine. Tiffany (Chantelle Miller) : Rocking the red hair and go-go boots, Miller perfectly portrayed Tiffany's ditzy nature, often being pulled around the stage like a rag-doll. Her martini-sipping antics and spaced-out demeanour seemed like a blast to play. Teddy (Daniel Pohlmann) : Pohlmann's consistent smoulder, self-admiring, cravat-wearing characterisation was perfection. Along with his physicality and voice that could rival Freddie Prinze Jr, Pohlmann delivered some hilarious moments that truly stood out to me. And the dance-off "foreplay" where Teddy and Tiffany channel Britney Spears and Justin Timberlake... was so out of left field and ridiculously memorable! Scraggly (Mikey Real) : Embracing the munchies-snacking, voice-cracking persona, Mikey Real transforms Scraggly into scruffy loveable idiot. With his lightning-fast improv, Scraggly became the character that captured my attention the most during the entire show, leaving me eager to hear what he would say next. Mrs Woodhaven and Fortuana (Cecile Campbell)  and Big Woody (Caleb Turner) : These extra characters brought another element of absurdity to the show, with Campbell basically pulling a Jekyll and Hyde, while Turner rocks an oversized persona that cranks up the cheekiness even more. Director Nathan Schulz deserves praise for producing such an engaging performance in a diverse performance venue with just a handful of performers. He ensures that everyone's attention is focused on the antics between the actors, allowing him to throw in some whimsical props like a giant hamburger or a spooky pumpkin head. You can tell he dedicated a lot of time and effort to make sure the group's chemistry is top-notch, enabling them to keep the banter flowing with jokes and snappy comebacks. The most memorable aspect was unquestionably the commitment shown by the entire cast in embodying their over-the-top characters. What distinguishes this parody from others is the boldness of the creators in spoofing such a widely recognised children's cartoon. With a show like this, it's crucial to leave your sour face at home and just enjoy the wild ride for what it is! In short, “Spooky Dog and the Teenage Mystery Gang” was a devilishly fearless romp that fully embraced its own nuttiness with a willingness to take risks.

Drawing inspiration from the wise words, "Don’t set yourself on fire to keep others warm," this short play offers a fictional yet deeply authentic exploration of emotions, connections, and the introspection that accompanies young love. Nestled in the heart of Fortitude Valley, Backdock Arts offers a unique theatre experience. With its forty chairs repurposed from old bus seats, the venue exudes a cozy and intimate atmosphere. Upon entering the theatre through the set resembling a quaint antique store, you'll hear the soothing tunes of acoustic music gently serenading you. This carefully curated soundscape evokes a nostalgic vibe, as if one is strolling through your fondest memories. Set Me on Fire tells the tale of Eden and Noah, former partners who unexpectedly meet again after a five-year separation. What starts as awkward small talk swiftly transforms into a whirlwind trip down memory lane. Rachel McMurray and Mannon Davies do an amazing job bringing their characters to life, even amidst the distractions of the busy main road outside. Eden's retro attire, adorned with delicate details, complements the character and the narrative's nostalgic tone. The set, adorned with items sourced from local op-shops (and the team's grandparents' homes), includes a charming retro telly that helps steer the audience through the timeline; also enhanced by lighting shifts. Rachel and Mannon’s use of the set is dynamic, manoeuvring items themselves to transition between various times and locations.   As the story unfolds, the audience is taken on a journey through the early days of Eden and Noah’s relationship. From the very beginning, their chemistry is electric that you can practically see the sparks flying! They banter, they flirt, they carefully avoid any hint of drama - typical of a new romance. The beautiful poetic script, complemented by romantic lighting and music, encapsulates the intoxicating bliss of their bond: "When you care about someone, it feels like your heart is on fire." The exploration of first love in this play is achingly relatable. Meeting at seventeen, Eden and Noah navigate the exhilarating highs and heart-wrenching lows of being each other's first romantic experiences, including the sweet intimacy and the inevitable conflicts. Their bond is tested as they confront their differing values and external pressures. The unseen figure of Noah's mother exerts a powerful influence, leading to honest, often painful discussions between the couple. Eden's challenge to assert herself and Noah's failure to defend her against his mother's disapproval serve as a poignant examination of the emotional labor often borne by one partner in a relationship. Despite her repeated attempts to communicate her feelings, Eden is often met with Noah’s confusion and helplessness. The raw vulnerability in her words, "You say you love me. So why can't I see that?" says it all about Eden's unfulfilled emotional needs and frustration. Noah’s manipulative plea, "If you loved me, you wouldn’t leave me," exposes the toxic dynamics that can arise in such charged moments. The decline of their relationship, as they continue with their usual routines but are plagued by uncomfortable silences and unspoken realities until one person finds the courage to walk away, resonates with anyone who has faced the painful end of a meaningful relationship. These themes are often a universal experience, and the actors’ genuine portrayal suggests that they, along with the playwright, have likely drawn from their own lives. Moving ahead to the current time, we discover what has become of these characters. Their polite conversation, filled with surface-level inquiries about each other’s happiness, reveals the emotional distance that has grown between them. The lingering question of “What if?” hangs heavily in the air, prompting the audience to reflect on the complexities of love, timing, and personal growth.   This debut work from Silent Sky Collective, led by the talented duo of Cale Dennis and Samara Louise, provides a nurturing platform for emerging voices in the theatre scene. Cale Dennis’s direction ensures every moment is crafted with a clear intention. The technical expertise of Tim James in design and Cullyn Beckton in stage management results in a unified and engaging performance. The playwright, Samara Louise, is a noted author of poetry, and her lyrical touch is evident throughout the script. Rachel McMurray and Mannon Davies, both pursuing their Fine Arts degrees in Acting, deliver performances that are as genuine as they are moving. Rachel, in particular, embodies Eden’s poetic spirit and emotional turmoil with remarkable depth, almost bringing this reviewer to tears as she navigates her character’s journey for validation and understanding. Mannon’s portrayal of Noah makes it difficult to dislike him despite his flaws, showcasing the complexity of his character. "Set Me on Fire" offers a poetic and heartfelt perspective on young love, personal growth, and the painful yet liberating process of moving on. Now playing at BackDock Arts in Fortitude Valley until August 2nd, 2024. Tickets available here

Hi Maxine! Thanks for chatting with us. Could you tell me a bit about your training and how you got into the theatre world, especially as a playwright? As a teen, I thought I wanted to be an actor. But one day, I saw an advertisement for the Queensland Theatre’s Young Playwrights Award and decided to spend my winter holiday crafting some weird little play and ended up winning. I was hooked. From there, I entered every writing competition I could just to set myself a goal to reach, and, if I was lucky, to get a chance to hear actors read it out loud. I pursued Drama studies at QUT where I met other theatre nerds, broadened my understanding of the possibilities within theatre, and started getting my plays into festivals and indie theatre venues. Additionally, I applied to writing camps and sought out mentorship programs whenever possible; since there wasn't a defined curriculum for playwrights, I paved my own pathway through.   So, how do you usually decide which projects to pursue and work on? When I was starting out, I was so eager to learn by doing that I would say ‘yes’ to every opportunity I came across. Often, this meant getting involved in someone else's idea, whether through character, story, or style. I like to think I can take a crack at anything and see what comes of it! But, considering how long it takes to write, edit, and produce a play, I find nowadays I like to work on projects that have potential to shine on stage, explore juicy topics that can spark debates with family and friends, or pose an intriguing linguistic challenge. Ideally, a project would encompass all three aspects.   You've written, developed, and put together a bunch of plays for different theatre groups. Can you share a little about what it's like to see your work come alive on stage? One of my favourite places to be is in a creative development for a new work. I love those early stages of bringing a first draft to life by actors, engaging in discussions, interrogating and prodding. After spending so many hours working on it alone, it’s thrilling (both scary and exciting) to finally share it with others. Once a play is in rehearsal, I try to be present as much as possible. It’s a phase of continuous experimentation where the play is still being tested – which combination of words will unlock what we want here? The director and actors bring their unique expertise to the script, and I find I can make new discoveries from watching them work. That has got to be a very exciting process! What inspired you to write "Horizon"? Was there a particular moment or idea that sparked the creation of this story? During the conceptualising stage of the play, Ian Lawson (Aristic Director of Playlab Theatre) and I had many discussions about our national identity - who are we as a country and where are we heading? How can we encapsulate the debates that are gripping our nation using only two actors? The prevalent issues of incels, male violence, and the #metoo movement served as significant influences on the characters' background stories. From these discussions emerged the concept of a young couple embarking on a road trip out west. Trapped in a car with the person you love, what secrets chase them down the road?   Those themes sound very intriguing! So, what can audiences expect from "Horizon"? Are you hoping to spark any specific reactions or discussions with the play? Viewers can expect a thrilling gothic road trip deep into the heart of the Australian country, as we delve into the hearts of two individuals with ghosts to escape. I hope that they will find a connection with the characters - either you know people like these two or recognise reflections of themselves - and become invested in the complexities of their relationship. Can their relationship survive some grim history that comes to light? Can they outrun the dingoes of the past that are hunting them down? I aim for this to trigger conservations about the future direction of our nation and who will be driving us there. In "Horizon," the Australian landscape is crucial. How did you manage to capture the essence of the outback and how it affects the characters' journey? As the characters journey deeper west and the white lines of the lanes become hypnotic, the car becomes their safe space, yet also feels claustrophobic. Both characters are uncertain where they’re headed – physically and emotionally – yet they can’t leave the vehicle or each other in this isolated setting. As they start to hear dingoes howling at dusk, they wonder if they are being followed. Although, whether the dingoes are really there or not remains a mystery.   I'm so eager to check out this thrilling drama on stage! How do you go about working with other creative folks and actors to bring a show to life? Each production is slightly different, but generally I like to collaborate as early as possible in the development of a new work. In some cases, I’ve been lucky enough to have creative development sessions during the initial conceptualisation of a piece, and I've discovered that I often draw inspiration from the designer's vision, the composer's auditory perspective, or the physicality that actors bring to their roles. It becomes a bit of an organic process of inspiring one another to push and explore, establishing a shorthand for our future rehearsals.   Got any cool projects up your sleeve for your next work? Having recently had a baby, I’ve found a whole well of inspiration through sleep deprivation!   I'll bet! Have you noticed any ways in which you believe you have evolved as a playwright? When I first started writing plays, I tried to implement every piece of feedback I was given – which meant revising some things so much that they lost the spark that drew me to them. Nowadays, I trust my instincts more and understand that not all feedback needs to be used! I appreciate the time you dedicated to answering these questions. Before we warp up, I'll ask the question that I pose to all interviewees: What advice would you give to those who are looking to build careers in the theatre industry, whether on stage or behind the scenes? In the world of theatre, careers can be strange and unpredictable – be comfortable with change, take on lots of roles, and remember that there is no right or wrong way! For those new playwrights, don't be afraid to share your work! 'Horizon' is playing at the Brisbane Powerhouse from 31 July - 10 August Tickets available here

TINA, The Tina Turner Musical is an exhilarating journey through the remarkable life and enduring legacy of the Queen of Rock 'n' Roll. This jukebox musical tells the story of how Tina Turner discovered her talent and overcame challenges of gender, race, age, and domestic violence to become a global sensation. Growing up in the racially charged Nutbush, Tennessee as Anna Mae Bullock, she faced a difficult childhood marked by parental abandonment and limited opportunities. Once discovered by R&B pioneer Ike Turner, she was transformed into Tina Turner from a young age . I had the privilege of seeing Jochebel Ohene MacCarthy, the alternate Tina, deliver a truly extraordinary performance. Jochebel stands out as one of the most impressive leads I have ever witnessed, capturing Tina Turner's essence with accuracy in her mannerisms, voice, and emotional depth, all supported by a phenomenal vocal range and unwavering endurance and energy. The musical numbers range from her high-energy hits to emotional ballads, capturing Tina's tumultuous life story perfectly. The choreography and energy of the ensemble are on par with a high-octane production like Hairspray . Jochebel as Tina not only delivers vocally but also impresses with her classic Tina dance moves that'll have you shimmying in your seat. One of the show's peak moments is "River Deep, Mountain High" - starting as a subdued studio recording and building into a full-blown spectacle. Other musical highlights include "I Want to Take You Higher" and "Proud Mary," both of which feature interspersed dramatic scenes. Lucy Bowyer, one of the young girls playing young Anna Mae, demonstrates her powerhouse voice, a talent Tina possessed from a young age. Her ability to belt out tunes and command the stage reflects not only her character's journey but also her own natural charisma and stage presence. As the story unfolds, we witness the evolution of Anna Mae from an excitable and naive young girl to a controlled and frightened young woman, before ultimately transforming into an empowered superstar and a devoted single mother Tina Turner. The closing of Act One is unexpected and jaw-dropping, capturing a pivotal low point in Tina’s life in the mid '70s. Giovanni Adams delivers a compelling portrayal of Ike Turner, capturing the complexities of the character with great intensity; showcasing the tumultuous marriage between Tina and Ike that was marred by Ike's infidelity, exploitation, and abuse. Act Two opens with a bang with "Disco Inferno," accompanied by dazzling disco balls that illuminate the entire Lyric Theatre. The arrival of characters Roger Davies and Terry Britten injects a lighter and more jovial tone as we witness the creation of "What’s Love Got to Do with It". John O'Hara, portraying Phil Spector and Terry Britten, brings a charming mix of humour and distinctive characterisations to his roles. Both Matthew Prime's portrayal of Tina's enduring love, Erwin Bach, and Mat Verevis as Aussie music producer Roger Davies, are excellent. Following numerous scenes of abusive behaviour from multiple men in Act One, it is heartening to see these new characters display supportive and kind attitudes in Act Two. One of the most moving moments takes place as Tina says farewell to her mother during "We Don’t Need Another Hero." The starlight projected onto the stage transforms into the dazzling lights of a concert arena, leading into the explosive finale "Simply the Best." Ending the show with a high-energy mega-mix, the rock band takes the stage and before you know it, the whole audience is on their feet! Featuring a revolving turntable, the stage set spins us through the different eras faster than you can say "Big wheel keep on turnin'!" The use of lighting and set elements ensures smooth transitions between place and time, making it easy for the audience to follow along. Tina's various outfits are a spectacle in themselves, not only showcasing her fashion evolution but also the meticulous effort put into replicating iconic looks from her career, allowing her to sparkle, quite literally, on stage. Multiple costume changes, most of which occur on-stage (including wig swaps), add a layer of excitement by allowing the audience to witness the transformation firsthand. Attention to detail in the props, from the iconic 60s microphones to the sleek 80s recording studio equipment, authentically captures the essence of each era, immersing the audience in a journey through time. The band delivers an energetic performance both on stage and off stage, showcasing a particularly impressive horn section. The audience's reaction is a testament to the show's impact. Standing ovations, enthusiastic applause, and even the occasional sing-along moments reflect the deep connection and appreciation the viewers have for Tina Turner's music and legacy. This communal experience enhanced my overall enjoyment, elevating this musical from beyond mere observation to become a shared celebration of a musical legend. Whether you’re a lifelong fan or new to her story, this production at QPAC is an absolute must-see. Now playing at the Lyric Theatre, QPAC until 23rd August. Tickets available here

Title:  Musical Theatre Open Mic Presented By:  Broadway Rising Stars Genre:  Youth Musical Theatre Synopsis: Broadway Rising Stars is an exciting opportunity for talented young performers aged 17 and under to showcase their musical theatre skills. This event aims to highlight the next generation of musical theatre stars, giving them a platform to shine and perform live in front of an audience. Audition Self Tape:  Submissions close on 27th July 2024 Audition Link:  Online submission via link to audition form Audition Requirements: Video Performance:  Record yourself performing two contrasting musical theatre songs that showcase your voice and style. These will be the songs you perform live if selected. Recording Guidelines:  Use a smartphone or any device that captures clear video and audio. Ensure the recording is in a quiet, well-lit space with minimal background noise. Upload Instructions:  Upload your video to a shareable platform (YouTube, Vimeo, etc.). The video does not need to be public, but the link must be accessible. Submission:  Complete the audition form  and submit the link to your audition video. Required Age: Open to all young performers aged 5-17. Only 15 spots are available, so early submission is encouraged. Performance Date:  Sunday, 4th August 2024 Performance Times:  2:00 PM Performance Location:  Sit Down Comedy Club, Paddington Other information: Auditioning and performing is 100% free. There are no entry fees or hidden costs.

I recently had the pleasure of attending Loxlea Creative's performance of "The Critical Last Chance Years Vol. 3" during the Anywhere Festival Brisbane, and it was truly delightful. This one-woman musical cabaret features Zoe Georgakis as Amy, who leads the audience through the wild journey of a perpetually single woman. The creator, Laine Loxlea-Danann, masterfully blends a range of genres in her music and lyrics, crafting a musical performance that is both heartwarming and entertaining. The audience is invited to Amy's 50th birthday celebration, where she recounts the ups and downs of her life as a single woman, beginning in her 20s. The show kicks off with 'Life, I've Got You by the Balls,' belted out flawlessly by the jazz diva extraordinaire Zoe. (I apologise for not knowing the actual song titles). But let me tell you, the real showstopper was 'I Like Doing It on My Own.' Coincidentally, today, on my 29th birthday, I found the message of embracing your own company and rejecting societal expectations to be very relatable. Likewise, the 'That's Just Disney Bullshit' number struck a chord with my childhood fantasies of fairy tales. The peak of hilarity came during the "Guide to Flirting" segment, where Amy unsuccessfully attempts various physical flirting techniques - flash your wrists, wink, subtly point to your cleavage, rub your neck - ending in severe second-hand embarrassment. This period of Amy's life is marked by friends relying on her, sharing their happy news, and seeking favours without reciprocating an interest in her life. A particularly memorable quote was, "Your 20s are your time to bloom. I didn't think blooming would be this lonely." At one point in the story, Zoe shifts characters to embody Amy's friend who already has the house-husband-children package. I appreciate that this character highlights all the perks of flying solo versus the supposed shackles of coupledom/parenthood. The song 'Past Your Prime/Everybody's Having Their Babies' reflects the pressures to start a family before it's "too late", while the emotional ballad 'Goodbye Baby,' addresses the heartbreak of infertility. As Amy hits her 30s, she goes all out - having fun, traveling, and mastering the art of saying 'no,' all while diving into the chaotic world of online dating with a detailed list of criteria for a "good man." All the while, Zoe seamlessly switches between portraying other characters then back to her quirky, loveable depiction of Amy. The peak of the story sees Amy's behaviour become increasingly unhinged and unsettled, leading to her eventual acceptance and contentment with her situation by her 40s. And the icing on the cake? Amy symbolically marrying herself, showing us all that self-love beats society's rulebook any day. The seating was set up cabaret-style with bubble-blowers, streamers, confetti, and party-poppers on every table - fully immersing us in the party spirit! The decorations, birthday cakes, balloons, and the exceptional live jazz band all contributed to establishing the festive mood. This cozy setup fostered a close connection between Zoe and the audience, turning the spectators into active participants in Amy's story. The integration of theatrical elements like the live vlogging projection, prop manipulation, lighting effects, and creative choreography added even more vibrancy to the storytelling. Zoe captivated with her charisma and interactive approach. Marianne Klausen's direction, along with Laine Loxlea-Danann's script and music, made it easy to follow and engage with each scene. What truly set this performance apart was its ability to make me feel personally seen and understood. People like Amy and I, who do not desire the traditional family life of a husband, house, and children are not common; we are an exception to the norm. Laine has put together a show that expresses those often concealed feelings and unspoken thoughts, resulting in a liberating and empowering experience. The shared laughter, nods of understanding, and sighs of recognition, particularly from the women in the audience, highlights the profound impact of Amy's story. "The Critical Last Chance Years Vol. 3" takes you on a journey through the ups and downs of reaching the milestone age of 50. It celebrates individuality, resilience, and the joy of embracing life on one’s own terms. Whether you’re single, married, or somewhere in between, this musical has something for everyone. So make sure to keep an eye on Stage Buzz Brisbane for any upcoming performances to ensure you catch this fantastic show!

Title:  Bondi Legal Presented By:  ILT Genre:  Legal Comedy-Drama Synopsis: Bondi Legal is a comedic legal drama set in Bondi Beach. The story revolves around the loud-mouthed and aggressive proprietor of a legal practice, Frank Bailey, who is completely self-absorbed. The plot follows the interactions between Frank, his indecisive and panic-prone lawyer Brad Pitt (whose name is a constant source of disbelief), the elegant and gentle Frances Denyer, and the no-nonsense Magistrate Newman, who despite her permanent scowl is ironically nicknamed "Smiley." Audition Date:  Monday, 29 July 2024 Audition Time:  7:30 pm Audition Location and Address:  Ipswich Little Theatre, 15 Burley Griffin Dr, Ipswich QLD Available Roles: Frank Bailey:  (50-60) Loud-mouthed, aggressive proprietor of Bondi Beach Legal practice. He is totally self-absorbed and cares little for the plight of others. Brad Pitt:  (30-40) A lawyer who finds it difficult to decide if he is a man or a mouse. Completely lacking in self-confidence, he is prone to panic attacks. And no one believes he is Brad Pitt. Frances Denyer:  (30-40) An elegant, attractive woman who is a caring and gentle soul. Magistrate Newman:  (50-70) A judicial officer who has a no-nonsense approach to the conduct of cases and wears a permanent scowl on her face, but is nicknamed “Smiley”. One Male Actor to Play Three Small Roles Audition Registration:  Complete the form at ILR Audition Form Link Performance Dates:  20 November to 7 December 2024 Creative Team: Director:  Chris Austin Greenhill Assistant Director:  Liz Ball Other Information:  For further information, including perusal scripts, contact Chris on 0427 977 007 or via email.

Title:   I Love You, You’re Perfect, Now Change! Presented By:  Sunnybank Theatre Group Inc. Genre:  Musical Revue Synopsis : A humorous and heartwarming exploration of modern love in all its forms. From the excitement of first dates to the challenges of long-term relationships, this revue captures the essence of romantic connections throughout a lifetime with wit and charm. Audition Details: Audition Date: Friday 16th August 6:00pm - 9:30pm or Saturday 17th August 10:00am - 9:00pm Audition Location and Address: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD Audition Requirements: You will have a total of 15 minutes for your individual audition. Choose a character from the scenes provided and prepare a performance. Note that it does not need to be memorised or read perfectly. A reader will be provided. Perform your version of the scene and then a second performance with direction. This helps assess the fit of your acting skills to the material in the show. Vocal Audition: Songs:  Prepare two contrasting songs, each approximately 1 minute in length. Contrasting refers to differences in style, tempo, mood, etc. (e.g., one fast and upbeat, the other slow and emotional). Backing Track:  Bring a backing track via phone, USB, or a YouTube link. The audition panel will have the technology to plug into speakers. Vocal Range Assessment:  On the day, there will be a short vocal range assessment to determine your highest and lowest notes. This helps assess your vocal type and suitability for the show's material. Dance Performance: Choreography:  Watch and learn the provided choreography sequence to the best of your ability. It does not need to be perfect. On the Day:  You will have a short refresher with Josh and will perform the sequence twice. This helps assess your movement ability and suitability for the choreography in the show. Callbacks: Date:  Sunday 18th August, 4:30-6pm. Purpose:  To assess vocal blends for duets in the show. This helps in making decisions on selecting the final 12 performers. Outcome:  All auditionees will be notified of the outcome via email on Sunday 25th August by 5pm. Available Roles: You will be assigned to a suitable role at the discretion of the creative team. If you have a preference, please indicate this at your in-person audition. Specialist accents are not required for this production. Audition Registration: Register online at Sunnybank Theatre Audition Registration Audition Pack: Available here Performance Dates: Friday 8th November - Saturday 23rd November, 2024 Performance Location: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD Rehearsal Dates: Mondays & Wednesdays from 2nd September Sundays from 8th September Rehearsal Times: 7:00pm – 9:30pm (Weekdays) 12:00pm – 6:00pm (Sundays) Creative Team: Director : Tammy Sarah Linde Assistant Director : Luke O'Hagan Music Director: Emma Erdis Choreographer : Joshua Brandon Other Information: Meet & Greet/First Rehearsal:  Sunday 1st September Photoshoot:  Sunday 8th September Sitzprobe:  Sunday 27th October Technical Rehearsals:  Various dates from 27th October to 6th November Bump Out:  Sunday 24th November (starting at 10am) Membership Fees:  $30 for one year or $75 for three years