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Title:  Hedda Gabler Presented By:  Maleny Players Genre:  Classical Drama Synopsis: "Hedda Gabler" has been hailed as a dramatic masterpiece. Encompassing literary realism from the pen of Henrik Ibsen, it was ahead of its time and controversial. The role of Hedda Gabler is considered one of the great dramatic roles in theatre and we ideally need a strong actor with stage presence. All the parts in this play are strong roles and actors should be keen to delve into classical drama. Set in the drawing room of the Tesman house in Norway, the play focuses on the frustrated existence of its title character, exploring core issues of power, control, and societal expectation in the 19th century. Bored and restricted by her middle-class environment, Hedda plays out psychological games on those nearest to her, watching the cascade of events unfold. Audition Dates: Monday, 5 August 2024, 6:30 PM Thursday, 8 August 2024, 6:30 PM Audition Location: The Playhouse, Maleny Showgrounds Available Roles: Hedda Gabler  – Female, 25-40 years – Elegant, aloof, manipulative, and self-assured; newly married Jorgen Tesman  – Male, 30-55 years – University academic; husband of Hedda Mrs Elvsted  – Female, 25-50 years – Quiet, intelligent, slightly nervous disposition; friend of Hedda Ejlert Lovberg  – Male, 30-60 years – Bohemian academic; drinker and rogue; slightly dishevelled Juliane Tesman  – Female, 55-70 years – Benevolent, witty, and wise; Aunt of Jorgen Mr Brack  – Male, 30-60 years – Clever businessman and womaniser; smartly dressed Berte  – Female, Any age - Maid of the Tesman household Rehearsal Dates: 19 August – 17 October 2024 Performance Dates: 18-27 October 2024 Performance Location: The Playhouse, Maleny Showgrounds Contact Information: Director: Kathryn Barnes Phone: 0434 879 014 Email: barnes@aussiebroadband.com.au Additional Information: Stage ages are listed as a general guide only. Rehearsal days and times will be worked out with the cast and crew once the play is cast. For more information, visit Maleny Players .

Title:  Murder in Company Presented By:  Reservoir Frogs Theatre Company Genre:  Mystery Thriller Synopsis: A dramatic society assembles on the stage of a church hall to rehearse a mystery thriller under its somewhat dictatorial director Philip Stephens. Tensions within the company mirror the suspense of the play they are rehearsing. Philip's wife is too friendly with one of the actors, a prowler is in the neighbourhood and attacks one of the girls, an unpleasant caretaker attempts blackmail, and one of the cast members seems to have a mysterious past. The rehearsal is plagued by difficulties until the mysterious death of one of the group brings the fictional whodunit into real life. It turns out that almost everyone could have committed the murder. AUDITION DETAILS: Date:  Tuesday 16th July 2024 Time:  7:00 PM - 10:00 PM Venue:  RSL Sub-Branch Hall, Corner Waterworks & School Roads, The Gap (Park in the carpark off Waterworks Road next to the C&K and walk down the stairs at the back of the carpark to access the hall) Requirements:  Cold read from the script Audition Registration: To register for an audition, please read the information and fill out the form here: Audition Registration Form Contact: For any questions, please email reservoirfrogstheatrecompany@gmail.com Available Roles: Alan Wilson:  an Actor, male, 20+ Margaret Stephens:  an Actress (married to Philip Stephens), female, 30's to 40+ Ted Smith:  the Caretaker, male, 40+ Philip Stephens:  the Director, male, 40+ Ronnie Meadows:  the Stage Manager, male, 40 - 50 Phoebe Kershaw:  an Actress, female, 50+ Patricia Robins:  an Actress, female, 20+ Doris Stewart:  an Actress, female, 25+ Creative Team: Director:  Helen Ekundayo Rehearsals: Start Date:  Sunday 21st July 2024 Schedule: Tuesday & Thursday evenings: 7:00 PM - 10:00 PM Sundays: 12:00 PM - 3:00 PM Tech/Opening Week: Sunday 8th, Monday 9th, Tuesday 10th, Wednesday 11th September (Thursday 12th only if necessary) Performances: 13 - 29 September 2024 Friday and Saturday evenings at 7:30 PM Saturday matinees at 2:00 PM Additional Notes: Rehearsals are in The Gap. Performances may be spread across two weekends at The Gap and one weekend at Samford. This is to be confirmed. All roles are open for casting. To be considered for a role, you must be available for the majority of rehearsals, all of tech week, and all performances. Please state any known unavailability on your application.

Title : Strictly Ballroom: The Musical Presented By : Beenleigh Theatre Group Genre : Musical Theatre Synopsis : Adapted from the 1992 film, Strictly Ballroom: The Musical tells the story of Scott Hastings, a championship ballroom dancer who defies all the rules to follow his heart. After making up his own moves that do not please the Australian Dance Federation, he meets Fran, a beginner who is not very skilled at dancing. The production features songs from the original hit film including "Love is in the Air" and new compositions by internationally acclaimed artists such as Sia, David Foster, and Eddie Perfect. Audition Dates : 10 – 11 August, 2024 Audition Registration : Register Here Audition Pack : Download the Audition Pack Choreography Audition Tutorial : Watch the Tutorial Audition Requirements: General Requirements: Age Requirement:  Except for the roles of Kylie and Luke, auditionees must be 16+ at the time of auditions. Membership : Each successful auditionee will be required to become a member of BTG at a cost of $10 prior to the commencement of the first rehearsal. Dance Call : All auditionees need to attend a group dance call in addition to their private slot. The dance call will be held at 10:00 AM on Saturday, 10 August. Character Role Auditions: Songs : Prepare 2 songs, each 1 to 1.5 minutes in length. Songs should demonstrate vocal range and be in a style similar to the show music (pop/musical theatre). Provide your own backing music; attachments for phones will be available in the audition room. Script Extract : Prepare to read an attached script extract. Additional sides may be provided on the day of auditions. If no side is supplied for a particular role, auditionees for that role may read a side of their choice. Dancer-Only Auditions : If you are auditioning for a dance-only role, you do not need to attend an individual audition or prepare a song. More information is provided in the 'ensemble' section of the audition pack. Couples Auditions: Some experienced dancers may wish to audition as couples. If so, please prepare a 1-2 minute ballroom routine. You will have the opportunity to present this at the end of the dance call on Saturday. Casting Policy: Beenleigh Theatre Group is committed to diverse, inclusive casting, and encourages auditionees from all backgrounds, abilities, and experiences to apply. They expect all members and employees to be inclusive and supportive of diversity in language and action, rejecting any offensive or insensitive behaviour. Priority will be given to BIPOC, LGBTQIA+, and artists with disabilities for roles explicitly identified as such in the script. Rehearsals: Commence : 18 August 2024 Schedule : Monday and Wednesday evenings (7:00 PM - 10:00 PM), and Sundays (4:00 PM - 9:00 PM) Performance Dates: Opening Night : 22 November 2024 Closing Night : 7 December 2024 Total of 9 performances on Friday and Saturday evenings at 7:30 PM, and Saturday afternoons at 2:00 PM. Performance Location and Address : Crete Street Theatre, Beenleigh, QLD Roles Available: Scott Hastings : Athletic and charismatic, but arrogant and ambitious. Strong dancer and singer. (Tenor, D3 - Ab4, Age: 20s) Fran : Timid to tenacious transformation, strong singer and dancer. (Soprano, Ab3 - Eb5, Age: 20s) Shirley Hastings : Scott's mother, strong vocal and some dance ability required. (Alto, F3 - D5, Age: 40+) Doug Hastings : Scott's Dad, requires good comic timing. (Tenor, D3 - D4, Age: 40+) Barry Fife:  President of the 'Federation', villainous character. (Baritone, Bb2 - F4, Age: 40+) Les Kendall:  Scott's mentor, strong song and dance man. (Bass, G2 - E4, Age: 40+) JJ Silvers:  Master of Ceremonies, prominent role with dialogue and song. (Baritone, Ab2 - E4, Age: 30+) Rico : Fran's father, powerful presence, Spanish accent and language required. (Baritone, E3 - D4, Age: 40+) Abuela : Fran's Grandmother, singer/dancer, speaks some Spanish. (Alto, G3 - D5, Age: 50+) Tina Sparkles : Classy and glamorous dancer, seductive. (Mezzo-Soprano, B3 - C5, Age: 20s-30s) Liz Holt : Scott's partner, high maintenance. (Mezzo-Soprano, D4 - D5, Age: 20s) Vanessa Cronin : Liz's friend, attractive but not too sharp. (Age: 20s) Ken Railings : Aging show-off dancer, often drunk. (Baritone, A2 - E4, Age: 30+) Wayne Burns : Scott's mate and fellow competitor. (Age: 20s) Kylie Hastings : Scott's sister, strong dancer and singer. (Mezzo-Soprano, G3 - D5, Age: 10-13) Luke : Kylie's ballroom dance partner, sings and dances well. (Alto, G2 - D4, Age: 10-13) Ensemble : Additional featured ensemble dancers, some roles do not require singing. Creative Team: Director : Daniel Dosek Vocal Director : Nicholas Hargreaves Music Director : Peter Lavrencic Choreographers : Hayley Iffland and Heather Barraclough

Presented By:  Villanova Players Theatre Company Genre : Musical Theatre Synopsis : This much-loved musical tells the story of Eliza Doolittle, a Cockney flower girl who takes speech lessons from Professor Henry Higgins, a phonetician, so that she may pass as a lady. Despite his cynical nature and difficulty understanding women, Higgins grows attached to her. Written By : Alan Jay Lerner (book), Frederick Loewe (music), based on a play by George Bernard Shaw Audition Date and Time: Saturday 27 July 2024, 11:00am - 3:30pm Audition Location and Address: THE THEATRE, Dining Room: "Morningside TAFE", 7 Clearview Terrace, Seven Hills, Brisbane QLD Audition Registration : Book your audition slot through TryBooking Audition Pack:   Available Here Performance Dates: 29 November - 8 December 2024 (with possible extension to 15 December 2024) Performance Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, Brisbane QLD Rehearsals: First Rehearsal: Sunday 18 August 2024 Final Rehearsal: Thursday 28 November 2024 Times: Tuesdays and Thursdays 7:30 - 9:30 PM, Sundays 11:00 AM - 4:00 PM Roles Available: Henry Higgins: A professor of phonetics, Male 40-50 Alfred P. Doolittle: Eliza's father, a dustman, Male 50-60 Col. Hugh Pickering: Henry Higgins's friend, Male 60-70 Mrs. Higgins: Henry's socialite mother, Female 70’s Freddy Eynsford-Hill: A young socialite and Eliza's suitor, Male 20-30s Mrs. Pearce: Higgins's housekeeper, Female over 40 Zoltan Karpathy: Henry Higgins's student and rival, Male 30-40s Chorus: Butlers, maids, street people, social elite, Male and Female, Any age Creative Team: Director: Jacqueline Kerr Production Website: Visit our Audition Page  for more details Other Information: Villanova Players welcomes the participation of any and all members of our community. We encourage people from marginalised groups and with diverse backgrounds, abilities, and experience to apply. We would love to see many faces (both new and old) join us at auditions. If you are unable to attend on the audition day or wish to help out behind the scenes, please fill out an expression of interest form : Fill out the form For more information, contact Leo Bradley at 0428 867 994 or email info@villanovaplayers.com .

Could you share with us your journey into the world of theatre, particularly as a playwright? Oliver : I suppose my training began as a student actor and as a keen reader. I always enjoyed performing in front of friends and at school, and loved participating in performances of all kinds. My family and I spent two years living in a tent and traveling across the country. So my siblings, kids from different campsites, and I would create skits and perform them around a campfire for fellow campers. After I discovered plays, I read myself as many as I could and enrolled in every available performance opportunity. I was particularly drawn to comedic works and gained valuable insights into what is fun, captivating, and engaging for an actor through my participation in a range of student productions at SUDS in the University of Sydney, Bedlam Theatre in the University of Edinburgh, and Underground Theatre Company at UQ. This experience was key in my journey towards understanding the elements that contribute to a successful script and discovering ways, as a writer, to provide exciting opportunities for performers.   The drama program at the University of Queensland enhanced my critical understanding of theatre and provided me with practical skills in its production, especially through the playwriting program led by Stephen Carleton. From there, I started to see my writing come to life on stage, and I was able to combine my passion for reading and play scripts with the lively nature of theatre. Furthering my studies, I completed an Honours in playwriting and a Master of Philosophy at UQ, where I was lucky to be supervised by experts Stephen and Joanne Tompkins who specialise in the type of writing that interests me. Through this program, I worked on longer plays and researched absurdism and ecological theatre, ultimately shaping my understanding of this field and what I wanted to do with my own creative work.   It's fascinating to hear about your diverse background, from creating skits around a campfire to studying at renowned institutions. I'd love to know more about the transition from writing to seeing your work produced. You've had plays like "X" and "Concrete Mirage" developed and produced by various theatre companies. Can you share a bit about the process of seeing your work come to life on stage? Oliver : It’s always exciting and terrifying witnessing your work on stage, or even hearing it during a first read or workshop . During both of those productions, I was lucky that there were talented and thoughtful directors like Brandon Palmer and Cam Scurrah attached to the work, which gave me confidence in the direction of the work. I was around for a first read -through and a couple of rehearsals, but after those early edits, the creative team found their own vision for the scripts. I typically prefer to "let go" control of the script once rehearsals have really begun to see what the director, actors, and design team can bring their to the world we are creating. It’s amazing to see how unexpected lines come to life, new meanings are found, and laughter come through the contributions of everyone involved. Ultimately, the script is a blueprint for the performance, and the transformation of the script from paper and ink to bodies on stage in front of an audience is a radical process - and very exciting. All sorts of things shift and come to light in this environment, which is what motivates me to write for the stage.   As someone who hasn't ventured into writing, I can only imagine how exciting that process must be. Being a Disney tragic myself, I'm particularly excited to talk about your latest work — "Disney Off Ice." This play has been described as an inventive and humorous satire exploring the legacy of Walt Disney. How did you approach the task of parodying such an iconic figure? Oliver : Of course, research played a big role in the early stages of developing this play, but I think the focus has ultimately shifted from being solely about Disney himself to ideas about celebrity and legacy. The Walt Disney is such a rich and fascinating figure, so at times it was a challenge not to focus on this one person completely. The name and the brand of Disney carries such significant cultural weight and comes with an enormous wealth of images, meanings, and associations; so there were plenty of exciting ideas to consider and explore. A s our director Lachlan Driscoll, the artists at Observatory Theatre, and I continued to develop this work, we found it more urgent to question and examine the cultural aspects that Disney represents, such as the creation of icons, the artistic process, and the uneasy relationship between art and capitalism.   What can audiences expect from “Disney Off Ice,” and how do you anticipate they will engage with it? Are there specific reactions or discussions you hope the play sparks among viewers? Oliver : I think audiences can expect a pretty wild show. We have found an incredibly strange future world in this process, and have placed a cranky, raving Walt Disney right in the centre of the chaos. The production is full of big characters and absurd events that I trust will surprise and provoke audiences. The future of our planet is an important thread in the work - so I’d like to see audiences ponder what our future may look like if business is continued as usual. Where will the relentless pursuit of profit lead us in the years to come? How will it impact art, people, and the environment? I believe this play takes the comical strangeness and brutality of where things are headed, and brings it just a few steps closer to total madness. What might the world look like centuries from now? Is there anything that wouldn't become an industry or couldn't be commercialised? If cryonics were successful, what would these defrosted icons have to say about their legacies? Would the planet as we know it be destroyed? Would Walt Disney emerge from his tank to a ready-made militant cult?   Oh my stars, that sounds like an incredible concept! I am so looking forward to have my mind blown by "Disney Off Ice." Now, let's dive into the glamorous world of theatre! What keeps your playwright heart beating with passion and excitement? Oliver : Collaboration is a huge part of what I love about making theatre. Sometimes writing can be a little lonely, so witnessing the transformation of work in a shared space is truly incredible. Initially, what captivated me about theatre was that collaborative spirit - sharing the stage with fellow actors, trusting each other, and drawing inspiration from each other's creativity - which I still feel today in various ways. Another part of my passion for theatre are the opportunities it can offer for social and political change. I view theatre as a dynamic, impactful, and public art form - a place where new or radical ideas can enter the world. Seeing the work of other writers and creatives, as well as exploring both contemporary and classic plays, serves as a continual motivation. It’s such a privilege to see your writing come to life, and an opportunity to do something special. Absolutely! As someone who’s deeply involved in theatre myself—juggling teaching, performing, blogging, and reviewing—I know that rush of discovering and witnessing productions that I may not have encountered otherwise. For those who are aspiring to carve out a career in theatre, whether on stage or behind the scenes, what advice would you offer? Oliver : I believe it's valuable to engage with various theatre productions and approach reading plays with the same enthusiasm. I would say that it’s valuable to somehow be involved in as much theatre as you can and approach reading plays with the same attitude. Obviously exposing yourself to professional, indie, and student shows of all types is important, but can be tough with money and logistic constraints. Although, many theatre companies offer discounts for young people or pay-what-you-can options. For writers in particular, I’d recommend exploring plays and novels extensively through our public, state, university libraries, borrowing from friends, or buying your own if there’s something new and exciting that calls to you. From here, you can start to develop your own perspectives on, and familiarity with, different forms of language, pacing, and structure in plays. The practical side is also key. So again, I’d say just get involved in the process of making performances however you can. Keep an eye out for skill development programs, emerging artist programs, and opportunities of all types. While my personal experience with studying drama at university has been very useful, my best general advice is to "do" theatre whenever possible! Thank you so much for your time, Oliver. Catch the world premiere of 'Disney Off Ice' by Observatory Theatre, running from August 16 - September 1, at Studio1, Yeerongpilly. Secure your tickets here.

Title:  The Lovely Bones Presented By:  Redcliffe Musical Theatre Genre:  Drama Synopsis: This stage adaptation of Alice Sebold's 2002 novel revolves around Susie Salmon, a 14-year-old girl who, after being murdered, watches from her own personal heaven as her family and friends cope with her death and as her killer attempts to cover his tracks. The play captures the emotional and psychological depths of the characters as they navigate their grief and search for justice. Written By: Book:  Alice Sebold Adapted for the Stage:  Bryony Lavery Audition Dates: Information Session:  Wednesday, 17 July, 7:00 pm Auditions:  Sunday, 21 July, 9:00 am - 1:00 pm Audition Location and Address: Theatre 102, Redcliffe Audition Requirements: Prepare a short monologue in the style of the play (no more than 1 minute). Cold reads from the script with other auditionees. Call-backs may be necessary to ensure the right balance for the characters, especially as many performers will have multiple roles. Audition Registration:   Redcliffe Musical Theatre Audition Pack: Available Here Rehearsal Information: Schedule:  Monday and Wednesday nights from 7:15 pm to 9:30 pm, and Sunday (TBA) Starting Date:  Monday, 22 July Performance Dates: Friday, 6 September:  7:30 pm Saturday, 7 September:  2:00 pm and 7:30 pm Sunday, 8 September:  6:00 pm Friday, 13 September:  7:30 pm Saturday, 14 September:  2:00 pm and 7:30 pm Sunday, 15 September:  6:00 pm Performance Location and Address: Theatre 102, Redcliffe Available Roles: Susie Salmon: The protagonist and narrator of the story. A 14-year-old girl who is murdered and watches over her family from her personal heaven. A performer aged 16-18 who can portray a 14-year-old. George Harvey: The antagonist, a neighbour and Susie’s murderer. A strong actor over 40 years old. Jack Salmon: Susie’s father, who becomes obsessed with finding her killer. An actor aged 35-45. Abigail Salmon: Susie’s mother, who struggles with grief and eventually distances herself from the family. An actress over 35 years old. Lindsey Salmon: Susie’s younger sister, who becomes a source of strength and hope for the family. A performer aged 16-18. Buckley Salmon: Susie’s younger brother, who is too young to fully understand the tragedy but is deeply affected by it. A young actor aged 14-16 who can play a much younger character. Ray Singh: Susie’s schoolmate and first crush, who also has to cope with her loss. An actor at least 16 years old. Ruth Connors: A schoolmate of Susie who has a supernatural connection to her and is sensitive to Susie’s presence. An actor at least 16 years old. Len Fenerman: The detective assigned to Susie’s case who becomes emotionally involved with Abigail.  A mature actor over 30 years old. Principal Caden: A minor character representing the broader community’s involvement in dealing with the aftermath of Susie’s murder. A mature actor over 30 years old. Grandma Lynn: Susie’s paternal grandmother, who provides support and stability for the family after Susie’s death. A mature actress over 50 years old. Franny: Susie’s guide in her afterlife, helping her navigate her new existence. An actress over 18 years old. Mr. Singh: Ray’s father, who supports his son through the ordeal. An actor over 35 years old. Holiday: The Salmon family dog who senses Susie’s presence. A young actor aged 16 or older. Ruana Singh: Ray’s mother, who is sympathetic and understanding. An actress over 35 years old. Samuel Heckler: Lindsey’s boyfriend, who becomes close to the Salmon family. An actor over 18 years old. Mrs Flanagan: A neighbour in Susie Salmon’s community, embodying the typical "nosey neighbour" trope. A mature actress over 40 years old. Other Roles: Additional characters such as GIRL, COPS, DOGS in Heaven, and The VANISHED GIRLS – Flora, Leah, and Wendy. Other information: Note we will be looking for actors who can play multiple roles for many of the characters. Suggested characters in multiple roles are: Len Fenerman / Samuel Ruana Singh / Franny Grandma Lynn / Mrs Flanagan Ruth Connors / Buckley Salmon Ray Singh / Principal Caden

Underground Theatre Company’s production of Rotterdam , written by Jon Brittain, is a beautiful work that explores the complexities of gender identity, self-discovery, and the fluidity of human experience. Directed by Tai Kane-Potaka , this play doesn't shy away from the harsh realities of changing identities and societal labels, but also finds moments of joy and humour amidst the challenges. After seven years in a relationship with her girlfriend, Alice is finally prepared to reveal her lesbian identity to her parents when Fiona drops a bombshell - he's always felt like a man born in a woman's body and is wanting to embrace life as Adrian now. This revelation leads Alice to question her own sexuality - does this make her straight? And as if that wasn't enough, throw in Alice's ex-boyfriend/BFF/Adrian's brother Josh, and the lively lesbian co-worker Lelani into the mix for some extra spice. Join Alice and Adrian as they navigate life in their cozy apartment in Rotterdam, Netherlands. Aimee Sheather has created a set that is both intimate and inviting, complete with twinkling lights, a sofa, a coffee table, and a kitchen island, setting the perfect backdrop for the domestic scene where most of the action unfolds. The set immediately pulls us into these characters' lives as Alice frantically types on her computer while Fiona dances around the apartment to combat boredom. Quinny Niamh captures the emotional and physical hurdles of transitioning from Fiona to Adrian. The audience is taken along on this journey with Adrian, witnessing moments of frustration, isolation, and excitement, all of which are portrayed with a genuine emotion. Quinny's heartfelt performance highlights the resilience and bravery needed to undergo such a profound personal transformation. Rachael Woodnett delivers a captivating performance in the role of Alice. She brings to life the internal struggle and emotional turmoil that Alice experiences as she grapples with her partner's transition and confronts her own sexuality in the process. Rachael's portrayal is marked by a deep vulnerability as she grieves the loss of her girlfriend in private, enabling the audience to deeply connect with Alice's perspective. The dynamic between Adrian and Alice is particularly compelling. Their arguments are raw and highly realistic, allowing the audience to empathise with both characters. Adrian's line, “I’m not asking to change the world, I just want to be seen for who I am,” is especially moving. Since the show was only performed for a single weekend, I feel comfortable spoiling that the bittersweet breakup scene is profoundly impactful. Alice’s realisation that she cannot compromise her own identity, despite her love for Adrian, is both heartbreaking and empowering. Stephanie Hope brings a refreshing lightness to the story through her portrayal of Lelani, the lively and chatty Dutch girl at Alice's workplace. The character's charm and playful demeanour, combined with Stephanie's excellent comedic timing and flawless accent, make her a magnetic presence in every scene. As Lelani introduces Alice to the vibrant side of Rotterdam, the undeniable chemistry between them is palpable. Jackson Paul completely embodies the character of Josh, Alice's former partner and Adrian's big brother. Let's applaud his character in handling the drama of his ex dumping him for his sister, then stepping up to help his sister's transformation into Adrian. Jackson fits into this role like a glove, effortlessly juggling that mix of slightly clueless but sweet and highly supportive yet firm in setting boundaries. Under the direction of Tai Kane-Potaka, Rotterdam becomes more than a play about gender and sexuality; it’s a powerful narrative about personal growth and the challenges of change. It fearlessly dives into the gender identity maze, showing how one person's transformation can shake up the world around them. I especially enjoyed the analogy of our transition from having a Queen to a King, after seven decades of it being the norm, to illustrate that change takes time, patience, and understanding. The Queensland Multicultural Centre provides an ideal backdrop for this short narrative, offering a modern and comfortable space. Inventive elements like bubbles to simulate weed smoke, and balloons and confetti for fireworks, add a whimsical touch, while the lighting and sound design by Ee Thung and Hannah Page further enhance the friendly and intimate ambiance. From start to finish, Rotterdam captivates with its raw emotions, witty dialogue, and stellar performances. The audience's response—laughter, gasps, and moments of palpable silence—testifies to its impact. At a time when discussions about gender identity and sexuality are becoming more prominent, Rotterdam is an important piece that opens up conversations about acceptance, understanding, and the importance of being true to oneself. The Underground Theatre Company's production is a shining example of how theatre can challenge conventions, celebrate diversity, and push boundaries. Rotterdam is a triumph for the company, engaging, thought-provoking, and beautifully executed, leaving a lasting impression on this reviewer.

Title: Honeymoon in Vegas Presented By: Gold Coast Little Theatre Genre: Musical, Comedy Synopsis: This musical is a high-flying romantic comedy set against the glamorous backdrop of Las Vegas. Through a very surprising love triangle, this story shares a satirical look at love and commitment, devotion to family and the fear of loss. This piece allows us to not only laugh but also reflect deeply on meaningful connection and protecting those we love. The mystique of Vegas provides an exciting opportunity for an energetic ensemble cast to perform authentic, character-driven work in a heightened world. Written By: Music and Lyrics by Jason Robert Brown Book by Andrew Bergman Audition Dates: Saturday, 3rd August Sunday, 4th August (if required) Audition Times: Dance Audition (Group): Registration: 9:30am All Auditionees: 10:00am - 11:00am Advanced Dance: 11:00am - 12:00pm Vocal Audition (Individual): Individual slots assigned upon receipt of audition application Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough St, Southport (Behind the Westpac Bank building) Audition Requirements: Audition registration forms must be submitted by Thursday, 1st August. All auditionees must attend both choreography and individual vocal auditions. Auditionees should prepare two contrasting songs in the style of the show (approximately 32 bars or 1 minute each), provide their own digital backing, and be prepared to cold read from the script. A comprehensive rehearsal schedule will be made available at the beginning of the rehearsal process.   Audition Registration: Click here Audition Pack: Click here Warnings: Some costuming will reflect the look of Vegas showgirls as well as holiday clothing such as swimwear and bikinis. All costuming will be a collaborative experience between successful cast and the creative team to ensure comfort and safety to perform at their best. Successful auditionees cast in female dancing roles will be required to provide their own chorus heels and tights. Required Age: 18 years or older Available Roles: Jack Singer : Lead, Male, 25 - 30, Vocal range: Ab2-G#4 Betsy Nolan : Lead, Female, 25 - 30, Vocal range: F#3-Eb5 Bea Singer : Supporting, Female, 50 - 70, Vocal range: G3-E5 Tommy Korman : Lead, Male, 40 - 50, Vocal range: F2-G4 Buddy Rocky : Supporting, Male, 25 - 40, Vocal range: A2-G4 Johnny Sandwich : Supporting, Male, 30 - 50, Vocal range: D3-G4 Roy Bacon : Supporting, Male, 25 - 40, Vocal range: B3-Ab4 Mahi : Supporting, Female, 20 - 40, Vocal range: A3-F#5 Teihutu : Supporting, Male, 20 - 40, Vocal range: C#3-D#4 Raymond : Supporting, Male, 20- 50, Vocal range: G2-F#4 Featured Ensemble : Various roles including Alex, Rose, Featured Dancers, Elvis Impersonators, Hotel Staff, Tourists, Taxi Drivers, Salesmen, Card Players, and Ticket Agents Creative Team: Director : Tony Campbell Musical Director : Julie Whiting Choreographer : Natalie Cassaniti Choreographer : Andrew King Production Website: Gold Coast Little Theatre Auditions

Title : Grimm Tales Presented By : Shine Performing Arts Academy Genre: Gothic Theatre Synopsis: Step into a dark hall with an eerie atmosphere and explore the chilling original Grimm tales of Cinderella, Rapunzel, and more. This 50-minute production combines physical theatre, ensemble speaking, and gothic theatre conventions to bring these classic stories to life in a uniquely unsettling way. Audition Date: Wednesday, 24 July Audition Time: 4:30pm - 6:00pm Audition Location and Address: KSP Theatre, 1-17 Maitland Rd, Burpengary QLD Audition Requirements: Participants will engage in a cold reading from the script. No prior preparation is needed. Auditions are for experience and to allocate roles. Available Roles: Various Roles: Based on the dark Grimm tales, including characters from Cinderella, Rapunzel, and other classic stories. Audition Registration : Sign up here Audition Pack: View the audition pack Required Age : 12 - 18 years old Performance Date: Saturday, 19 October Performance Time: 7:30pm - 8:30pm Performance Location: Petrie School of Arts Hall Rehearsal Dates: Every Wednesday during Term 3 and Term 4 (Term time) Rehearsal Times: 4:45pm - 6:00pm Director : Paula-Mary Camilleri Other Information: Class Tuition Fees: $180 (covers two terms of tuition, which includes vocal expression, characterisation, and physical theatre training. Payment plans are available if needed.) All students who audition are guaranteed a place in this production. The auditions are for experience and to best allocate roles.

Title : ‘Twas The Week After Christmas Presented By: Shine Performing Arts Academy Genre : Festive Musical Synopsis : ‘Twas The Week After Christmas is a hilarious and heartwarming story about what happens when the North Pole loses the Christmas Spirit. Years have passed since the Elves and Reindeer have gotten along, with Reindeer egos high and Elves’ productivity low. Will a week of vacation help remind everyone what Christmas is all about? Audition Date: Tuesday, 23 July Audition Time: 4:30pm - 6:00pm Audition Location and Address: KSP Theatre, 1-17 Maitland Rd, Burpengary QLD Audition Requirements: Participants will take part in a dance audition, which includes learning a small movement section at the audition. They will also be taught a section of a Christmas carol to present to the creative team. Those auditioning for specific characters will read from the script in small groups. Comfortable clothing and a water bottle are recommended. Available Roles: Storytellers: 1 & 2 Santa Mrs. Claus Reindeer: Rudolph, Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, Blitzen 2nd-Tier Reindeer: Barnaby, Roberto, Gideon, Tulula, Leopold, Luigi, Miriam, Medula Elves: Cinnamon, Peppermint, Coco, Glitter, Candy, Gumdrop, Licorice, Tinsel, Ginger, Nutmeg There are over 35 roles available, providing many opportunities for performers to shine on stage. Audition Registration: Sign up here Audition Pack: View the audition pack Required Age: 7-14 years (Older students may play roles such as Santa and Mrs. Claus) Performance Dates: Wednesday, 18 December; Thursday, 19 December; Friday, 20 December; Saturday, 21 December Performance Location: KSP Theatre, Burpengary Rehearsal Dates: Every Tuesday during Term 3 and Term 4 (Term time) Dress Rehearsals: Monday, 16 December and Tuesday, 17 December Rehearsal Times: 4:45pm - 6:00pm Creative Team: Director: Paula-Mary Camilleri Musical Director/Choreographer: Eli Ball Other Information: Production Fees: $195 (includes tuition for two terms, costuming, and script). Payment plans are available. Costume Fee: $35 All students who audition are guaranteed a place in the production. The auditions are for experience and to best allocate roles.

Title : Lord Mayor’s Christmas Carols 2024 Presented By : Brisbane City Council, produced by The Little Red Company Genre : Festive Event Synopsis : The Lord Mayor’s Christmas Carols is an absolute must-attend festive event that highlights world-class talent and delights audiences with uplifting music, special surprises, and bucketloads of heart. Taking place at Brisbane’s Riverstage and broadcast to a national audience of more than 1 million viewers every year, this event is an initiative of Brisbane City Council and produced by The Little Red Company. Audition Dates: Little Red Carols Quartet: Wednesday, 21 August and Thursday, 22 August The Jingle Belles: Saturday, 24 August The Mistle Toes: Sunday, 25 August Little Red Carols Choir: Monday, 26 August Audition Time: Specific times will be communicated upon registration. Audition Location and Address: Thomas Dixon Centre (home of Queensland Ballet), 406 Montague Road, West End Audition Requirements: To submit your application, you will need approximately 10-15 minutes. When asked to upload a photo, please choose a clear headshot style image (head and shoulders only). Available Roles: Little Red Carols Choir: Emerging vocalists, 16 years and over Little Red Carols Quartet: Emerging vocalists, 18 years and over The Jingle Belles: Professional dancers, 18 years and over The Mistle Toes: Children’s ensemble, 6 to 12 years old Audition Registration: Apply here Performance Dates: Early December (Exact date to be announced when the Lord Mayor officially launches Christmas in Brisbane later in the year) Performance Location: Brisbane’s Riverstage Required Age: The Mistle Toes: 6 to 12 years old Little Red Carols Choir: 16 years and over The Jingle Belles and Little Red Carols Quartet: 18 years and over Production Website: The Little Red Company Other Information: The Little Red Company is fiercely dedicated to representation and inclusion. We strongly encourage people of all cultural backgrounds and gender expressions or with access requirements to apply. If you have any specific access requirements, please let us know in the application form so we can support you through the audition process. The Jingle Belles and Carols Quartet are paid positions. The Mistle Toes and Carols Choir are voluntary roles.

Title:  The Little Mermaid Jr. Presented By:  Phoenix Ensemble and Phoenix Arts Academy (PAA) Genre:  Musical Theatre, Family Synopsis:  Journey "under the sea" with Ariel and her aquatic friends in Disney's The Little Mermaid Jr., adapted from Disney's Broadway production and the motion picture (featuring the enormously popular Academy Award-winning music and delightfully charming book and lyrics). Based on one of Hans Christian Andersen's most beloved stories, Disney's The Little Mermaid Jr. is an enchanting look at the sacrifices we all make for love and acceptance. In a magical underwater kingdom, the beautiful young mermaid, Ariel, longs to leave her ocean home – and her fins – behind and live in the world above. But first, she'll have to defy her father, King Triton, make a deal with the evil sea witch, Ursula, and convince the handsome Prince Eric that she's the girl whose enchanting voice he's been seeking. Audition Date:  Saturday, 13th July Audition Time: Junior/Intermediate Dance Call: 9:30am-10:30am Morning Individual Auditions: 10:30am-12:00pm Afternoon Individual Audition Slots: 1:00pm-4:00pm Senior Dance Call: 4:00pm-5:00pm Audition Location and Address:  Phoenix Ensemble, Beenleigh Showgrounds, James Street, Beenleigh Audition Requirements: One 60-90 second excerpt of any Disney song (avoid songs from The Little Mermaid) Digital backing tracks on a device that can connect via Bluetooth, AUX, or dongle One scene from the selected sides (provided in the audition pack) Participation in a group dance call Available Roles: Ariel:  Female presenting, Vocal Range: B♭ - E♭ Prince Eric:  Male presenting, Vocal Range: B - D Sebastian:  Any gender, Vocal Range: G - B King Triton:  Male presenting, speaking role only (no singing) Ursula:  Female presenting, Vocal Range: F - C# Flounder:  Any gender, Vocal Range: G - D♭ (Junior/Intermediate student will be cast) Flotsam & Jetsam:  Male presenting, Range: C - C# Scuttle:  Any gender, Vocal Range: B - E Grimsby:  Male presenting, Vocal Range: E - C Ensemble Groups & Featured Roles:  Various roles including Mersisters, Princesses, Chef Louis, Carlotta, The Pilot, Sailors, Sea Chorus, Sea Creatures, Seahorse, Merfolk, and Seagulls Audition Registration:   Register Here Audition Pack:   Download Here Performance Dates: November 15th:  7:00pm November 16th:  2:00pm and 7:00pm Performance Location:  Phoenix Ensemble, Beenleigh Showgrounds, James Street, Beenleigh Rehearsal Dates: During class time throughout Term 3 and 4 Saturday Rehearsals:  12th and/or 26th October Tech Week Rehearsals: Monday, 11th November: 5:00pm-8:00pm Tuesday, 12th November: 5:00pm-8:00pm Wednesday, 13th November: 5:00pm-8:00pm Creative Team: Director:  Hayley Gervais Vocal Director:  Kym Brown Choreographer:  Elana Piggott Assistant Director:  Angelina Mustafay Production Website:   Phoenix Ensemble Other Information: All auditionees must be students enrolled in Terms 3 and 4 of PAA Phoenix Ensemble encourages diversity in casting and welcomes performers of all backgrounds