It’s a Wonderful Life – A Live Radio Play Presented by Swich Up Productions Directed by Adrian Carr   Swich Up Productions brings the heartwarming magic of ' It’s a Wonderful Life'  to Ipswich, transforming the cherished 1946 film into a nostalgic live radio play. Directed by Adrian Carr, this production presents the Christmas classic in a creative format that honours the original while offering a fresh theatrical experience. From the moment you step into the foyer, audiences are taken to a 1940s radio studio to relive the timeless tale of George Bailey and his profound impact on his community. In a meticulously designed 1940s radio studio, the cast steps into a bygone era complete with three-piece suits, elegant dresses, period-perfect hairstyles, and dazzling jewels. The vintage microphones, genuine Foley props, "On Air" sign, framed stills from the original film, a piano with aged sheet music, and a stunning Christmas tree all contribute to the authenticity of the setting. The cast fully commits to their roles, both as 1940s radio actors and as the characters within the story. They enter in character and mill around the radio station as the stage manager announces the time remaining until they go on air. The meticulous attention to detail, impeccable (interchangeable) accents, mannerisms, and interactions all exude professionalism from this cast. The production offers a dual-layered experience for its audience. On one hand, we become the live studio audience for a radio play, complete with live Foley sound effects and old-fashioned advertisements jingles sung in tight harmony by the cast. On the other hand, we are deeply connected to the emotional resonance of George Bailey’s life story as the performers step out from behind their microphones to physically embody their characters. The smooth interplay of these layers highlights the creative vision and careful execution of the team, led by director Adrian Carr.   Jesse Warren as George Bailey is the emotional anchor of the show. From his youthful aspirations to his moments of overwhelming despair, Jesse captures the complexities of a man whose sacrifices for others have defined his life. Whether he's charming Mary with the promise to lasso the moon, reprimanding his youngest child’s teacher for allowing her walk home without a coat, or grappling with frustration over Uncle Billy’s mistakes, Jesse brings an authenticity that feels deeply human. I believed him completely in every moment—particularly his overstimulation at hearing his daughter’s piano practice while burdened with financial stress. His chemistry with Elizabeth Warren, playing George’s onstage wife Mary (and his real-life wife), is palpable, especially in their intimate telephone scene—a romantic and emotionally charged moment. Elizabeth Warren is utterly enchanting as Mary Bailey, embodying the devoted wife and steadfast partner of George. From her warmth in the romantic early scenes to her calm strength in the face of the family’s struggles, Elizabeth’s performance is a beacon of grace. She conveys Mary’s unwavering support and deep love for George with genuine sincerity, reflecting their real connection. Adrian Carr pulls double duty as both the endearing guardian angel Clarence and the villainous Mr Potter. The stark contrast between these two characters, and Adrian’s ability to switch effortlessly between them,  is astounding. As Clarence, his goofy charm provides delightful relief and hope amid the more serious themes, while his depiction of greedy Mr. Potter is both menacing and loathsome. Lucas Stokes delivers a standout performance as Freddie Fillmore, the charismatic radio host, while also juggling several story roles with ease. His flair and old-school charm anchor the radio play setting, excelling in his comedic timing during the old-style advertisements. Martie Blanchett received plenty of laughs from the audience, excelling in her various roles, particularly as the youngest of George’s children—her toddler-like voice spot on. Elyse Rea also shines in her various roles, but her portrayal of Violet balances charisma and vulnerability beautifully. Justin Piper's characterisation truly felt genuine, making Uncle Billy’s quirks and struggles both endearing and heartbreaking. Simone Behrendorff, the show’s musical director, not only provides a beautiful live piano accompaniment but also adds her own humorous touch, bursting in as the flustered and anxious pianist who promptly drops her music in distress and starts crying—a relatable moment that endears her to the audience from the get go. The Foley artistry by Brendan Dieckmann and Tracey Spence deserves a standing ovation in its own right. From the sound of a sled racing over snow (achieved with a scrubbing brush) to the crackling of a fire (via twigs rubbing together) to the use of a mop in a bucket to recreate George’s plunge into icy water; these tactile elements are fascinating to watch and enhance the audience’s immersion in the narrative. The lighting design by Adrian Carr and Zephyr Burns is a quiet star of the show. The transitions between the radio studio backdrop and the scenes depicted within George’s narrative are visually achieved with subtle shifts in colour and brightness. The flickering lights, malfunctioning Christmas tree, and dimmed radio "On Air" sign during the alternate universe scenes are an especially clever touch, creating a sense of distorted reality.   The pacing of the show is excellent, keeping me engaged throughout. By the time George declares, “I wish I’d never been born,” I was deeply invested in his story. At one point, I had to remind myself to breathe because of how tense I became (despite having seen the film and knowing the ending). Act Three, where George is shown what life would have been like had he never existed, is gripping and emotional. The actors step away from their radio personas to embody the raw emotion of these scenes, delivering a deeply moving and cinematic conclusion. As George rediscovers his will to live, Jesse's acting is almost overwhelming in its emotion. My mother teared up as George’s thoughts turned to his children in those final moments, and I felt the same lump in my throat. Jesse Warren’s ability to embody George’s unwavering morality, his sacrifices, and his moments of raw despair make his performance unforgettable. I left the theatre feeling a renewed sense of gratitude for my own community and the relationships I cherish. As we embrace the spirit of the season, let’s all take a moment to be patient and kind with one another – it’s a gift that costs nothing but means everything.   Swich Up Productions has crafted a holiday treat that celebrates the profound beauty of human connection. With one weekend left to catch this gem, I cannot recommend it enough. Plus, don't miss their upcoming mainstage production of ' Jekyll and Hyde'  in March! Tickets for 'It's a Wonderful Life' available here

Alex Bannan’s ' Bodach Boys'  is an impressive debut that captures the grit and complexity of post-war London in a story brimming with tension, ambition, and heartbreak. Running until 14 December 2024, this gripping drama is a must-see for fans of character-driven narratives and powerful performances.   Set in 1936, ' Bodach Boys' immerses us in the volatile lives of a Cockney gang led by brothers Michael and Tadgh Murphy. The narrative is rich with conflict, as the scars of war collide with personal vendettas. As the gang struts into their Whitechapel pub, bringing their fresh earnings with them, the audience is grounding into the environment through the vintage decor. The cast excels at bringing their characters to life, each delivering authentic performances that transport the audience to the gritty underworld of 1930s London. The dedication to dialect is remarkable, with every actor nailing their accents, all distinct yet consistently convincing. Matthew Costin as the mobster Michael Murphy is a commanding presence, capturing the essence of a man burdened by war, grief, and the weight of leadership. He’s a magnet for attention, more storyteller than actor , drawing the audience in with every word. His interactions with the other characters are layered, particularly with Damien McIntosh’s Cas. Cas’s unpredictable nature, exacerbated by PTSD, is harrowing and engrossing; enhanced by McIntosh’s constant finger twiddling, haunted gaze and volatile outbursts. Christopher Raymond Smith delivers a chilling performance as Inspector Thompson, exuding an air of unshakable authority in his impeccable three-piece suit. His calculated demeanour and subtle menace make him a formidable force, keeping the gang—and the audience—on edge.   Tate Adams shines as Tadgh, the younger Murphy brother, whose romance with the high-society Lorelai (Crystal Dawson) threatens the gang’s unity. Tadgh’s darting eyes and tense jaw betray his inner turmoil as he grapples with family loyalty, personal ambition, and his love for Lorelai. The confrontation between Tadgh and Michael culminates in a raw, heartbreaking scene where Michael’s hardened exterior finally cracks, leaving both brothers emotionally gutted. Dawson, in the role of Lorelai, brings a youthful naivety to the gang, her nervous energy reflecting both her intrigue and growing unease with the illegality and violence.   Louella Baldwin as Emily is the heart of the play, embodying the maternal, tough barmaid with their quiet intensity, flawless Irish accent and a demeanour that radiates strength. As the moral compass of the group, this role is beautifully written and performed, and the tender Irish tune during Michael’s moment of vulnerability is a poignant highlight. Baldwin’s ability to convey disappointment, resilience, and compassion in equal measure makes Emily an anchor for the characters and audience amid the chaos. The core of ' Bodach Boys' lies in Alex Bannan’s vision as both writer and director. His script weaves a narrative filled with themes of family loyalty, personal ambition, the wounds of war, and the delicate balance of power. The dialogue is authentic and incisive, reflecting the gritty realism of the time while ensuring the characters remain profoundly human. The staged fights and drinking scenes are convincingly portrayed, heightening the tension without overshadowing the human drama.   The transitions between scenes are quite smooth, with the ticking of a clock effectively marking the passage of time. Bannan’s direction ensures the story moves at a quick pace without losing the emotional weight of its quieter moments. For future runs, how about a gentle gramophone in the background? It could add some vintage flair and help mask any unexpected audience noise. This would not only enhance realism but also serve as a contrast to the unraveling tension, grounding the drama in the ordinary while life continues amidst chaos. Despite some distracting noises from the crowd, the cast’s focus never wavered—a testament to their professionalism. The actors maintained their intensity and projection throughout, ensuring every nuance of the story was felt. I suggest snagging a seat close to the stage to catch the details : Tadgh’s clenched jaw, Cas’ restless hands, Lorelai’s fidgeting, and even the polish of Inspector Thompson’s shoes.   The emotional depth of ' Bodach Boys'  is undeniable from Michael's reflections on their late mother, to Tadgh’s heartbreaking remorse, to the climactic twist that left the audience audibly gasping, the show keeps you on edge until the final bow. With minimal use of explicit violence or language, the production achieves an impactful balance, relying on the raw performances and storytelling to drive the tension. Don’t miss your chance to see this masterful production before the season ends.   Tickets are available here

Gold Coast Little Theatre’s production of ' Honeymoon in Vegas'  bursts onto the stage with all the glitz, glamour, and zaniness of a Vegas showroom. Directed by Tony Campbell, with musical direction by Julie Whiting and choreography by Andrew King and Natalie Cassaniti, this rollicking musical comedy delivers laughs, heart, and toe-tapping tunes in equal measure.   Based on the 1992 motion picture (yes, it’s a film—I was just as surprised), ' Honeymoon in Vegas' is a love letter to cinematic romantic comedies. With a score by the brilliant Jason Robert Brown, best known for ' The Last Five Years' , ' Songs From a New World', 'Parade' , and ' 13' , the music is obviously excellent, and this talented cast brings every note to life. Even better, the 12-piece orchestra conducted by Julie Whiting is featured live on stage, making us feel like we're in a real Vegas showroom. Watching the musicians masterfully switch between instruments on the fly is awe-inspiring.   This romantic romp takes us from New York to Las Vegas to the sunny shores of Hawaii. Jack Singer (Brody Seignior), is a sweet but neurotic Brooklynite who just can't seem to propose to his ever-patient girlfriend Betsy Nolan (Ruby Hunter). Why? Because of a deathbed promise made to his overbearing mother, Bea Singer (Nicole Rozen). When Jack finally whisks Betsy to Vegas to tie the knot, a charming gambler, Tommy (Andy MacFarlane), cons Jack in a wild poker game and schemes to whisk Betsy away, claiming she’s the spitting image of his late wife. What follows is a desperate chase for love and plenty of musical hilarity!   Brody Seignior is the perfect male lead for this musical. With a divine voice reminiscent of Frank Sinatra or Jeremy Jordan, he leads the cast with a perfect balance of charm and awkwardness. His opening number, ' I Love Betsy',  sets the tone for his crooner vocal style, and his Act One closer, ' Do Something',  is an absolute showstopper, complete with a powerhouse high belt. Ruby Hunter’s Betsy is endearing and empathetic, her frustration with Jack’s hesitance so palpable that you just want to offer her a hug. Her voice soars in the heartfelt ' Anywhere But Here' . Andy MacFarlane makes Tommy irresistibly suave, with standout moments in the hilariously bleak ' Out of the Sun',  a tongue-in-cheek ode to his wife’s unfortunate tanning habits, and his touching ballad ' You Made the Wait Worthwhile'  shows a softer side; although whispers through the microphones from backstage slightly distracted from its impact. Nicole Rozen as Bea, Jack’s mother’s apparition, brings melodramatic flair in her number, ' Never Get Married' .   The ensemble is a treasure trove of high-energy performers who keep the laughs rolling from start to finish. Lucy Martin, Samantha Sherrin, George Pulley, and Anthony Vitetzakis are standout performers, bringing comedic brilliance and character depth to every moment. Whether they’re Elvis impersonators or part of the ' Garden of Disappointed Mothers'  scene, their energy is riveting.   Tianna Paget as Mahi, the eccentric Hawaiian guide, delivers the hilariously random ' Friki-Friki' , and Anthony Vitetzakis leads ' Every Day is Happy in Hawaii', a song that nails Jack's comedic meltdown admidst the exaggerated island bliss. The showgirls number, led by Greyson Vaughn as Buddy Rocky, dazzle in ' When You Say Vegas' , complete with big hair, cheesy grins, and sparkling costumes.   The standout numbers are almost too many to count, but ' Forever Starts Tonight'  is a particular favourite for me, showcasing gorgeous harmonies between Seignior and MacFarlane. One of the most memorable scenes is the absurd ' Airport Song ', where Jack's efforts to return to Betsy are hindered by the airport customer service team's well-meaning assistance. The arrival of Elvis impersonators is a spectacular finale, complete with iconic jumpsuits, sideburns, and killer choreography. By the end, the stage is swarming with Elvises (Elvii?) during ' Higher Love'  and 'Elvii in Flight'  and 'Honeymoon in Vegas'.   From the shimmering lights of Vegas to the tropical hues of Hawaii, the production design by Brett Roberts (lighting, set, and stage management) and Millie Talbot (costumes) have sprinkled their magic all over the place — from Hawaiian florals to shimmering showgirl outfits. Tony Campbell’s direction is vibrant and inventive, making excellent use of a glitzy, multi-level set that feels straight out of Vegas, along with smaller, easily movable set pieces that transport us from one location to another. He ensures a brisk pace and plenty of visual humour, while Julie Whiting brings out the best in both the performers and the orchestra.   This cast and crew bring endless energy, laughter, and heart, and it’s clear they’re having as much fun on stage as the audience is watching them. 'Honeymoon in Vegas'  is an underrated gem of a show, and Gold Coast Little Theatre has done it proud. The combination of a stellar cast, incredible live orchestra, and hilarious story creates an unforgettable night of musical theatre. If you love Guys and Dolls , Elvis Presley, or just a good dose of ridiculous fun, this show is your ticket to paradise.   Tickets are available here.

Have you ever, ever felt like this?   If you're an Aussie who remembers the days of dial-up internet and non-streamable television, you probably know how to finish that lyric. For years, ' Round The Twist ' has been the wacky, supernatural gem nestled in Australian hearts. Now, the iconic series is making a comeback as a stage musical at QPAC by Queensland Theatre, and it's a hilariously wild ride! Directed by Simon Phillips with a book, music, and lyrics by Paul Hodge, this world-premiere production breathes new life into the beloved tales of Paul Jennings. The brilliance of Round the Twist: The Musical  lies in its ability to bridge gaps between generations. For adults who grew up watching the beloved TV series, the musical is a trip down memory lane, filled with beloved characters, iconic moments, and plenty of laughs. Meanwhile, the vibrant, fast-paced, and utterly bizarre storyline captures the imaginations of younger audiences who may be experiencing the Twist family’s antics for the first time. Matt Hetherington as Tony Twist nails the dorky single-dad vibe, awkwardly wooing Fay James (Liz Buchanan) while trying to keep his mischievous kids in check. Hanlon Innocent shines as Pete Twist, delivering powerhouse vocals and humour. Charly Oakley embodies Linda Twist with spunk and ingenuity, while Luka Sero takes on the role of 10-year-old Bronson (a role shared with Edison Ai and Sebastian Sero)  with hilarious results—Bronson’s one-liners are comedic gold, particularly “I’ll just give up food forever; then I’ll never need to poo.” Nick Van Lits is perfectly obnoxious as Gribble Jr., leading the rebellious ' New Kid'  with swagger and featuring an awesome rap by Carla Beard as Tiger. Meanwhile, David James and Tarita Botsman serve as the villainous Mr and Mrs Gribble, complete with an evil anthem that showcases Botsman's famous operatic talent. Taylah Johns, as Fiona, has a divine voice that adds depth to the show’s quieter moments. The cast is beautifully in sync, with Pete and Tony Twist in particular being so goofy and alike that they genuinely seem related. The songs by Paul Hodge are a huge highlight, balancing hilarity and heart. From the very first number, 'Fresh Air,'  you’re hooked. This opener sets the tone with sky-high energy, pitch-perfect performances, and a sprinkle of fart jokes—what more could you want? The distinct Aussie accents remind you that this is a story rooted in our backyard, and the humour is unmistakably ours too. Numbers vary from the haunting ' The Fourth of September'  sung by Christen O’Leary’s Nell to the absurdly funny ' Good Pair ,' which juxtaposes Bronson’s smelly feet with a romantic duet among the three budding romances of Andrew and Linda, Tony and Fay, and Pete and Fiona. ' Someone Else’s Shoes' is ano ther standout, a playful family number as they play dress-ups with circus costumes found in the lighthouse. While wearing the clothes, the Twists begin to channel the spirits of the circus and the whimsical moment transforms into an emotional dive into the shipwreck mystery. And 'Up the Pong' is a stinky delight with a tune that captures the chaos of Bronson’s smelly feet. But the crown jewel of Act One is 'Without My Pants.' This hilarious and ridiculously catchy number sees Pete scrambling to give a history report while trying not to repeat his cursed phrase. Hanlon’s belting here is simply phenomenal and elevates the comedic chaos to new heights. Act Two ramps up the madness with ' Lucky Lips' , a rock anthem about an enchanted lipstick that inspires uncontrollable kissing. The choreography here—and throughout the show—is a blast, with Andrew Hallsworth’s playful, inventive moves drawing consistent cheers. Nell’s emotional ballad ' The Lighthouse'  pieces together the show’s mysteries, while the recurring theme of the TV show’s iconic song ties it all together beautifully. The show takes every opportunity to deliver moments of theatrical magic. The lighthouse, which serves as the central set piece, opens up dramatically to reveal the interior, drawing audible gasps from the audience. Designer Renée Mulder’s sets and Craig Wilkinson’s projections feel like stepping into a pop-up storybook. From vibrant scene transitions to vivid animations, the visual storytelling is nothing short of spectacular. The special effects elevate the show to a new level, featuring illusions like a levitating clarinet, words materialising on a painting, and a collapsing dunny door, bringing a sense of childlike wonder to the production. Round the Twist  has always been a show that celebrates the unusual, weaving supernatural antics with the universal challenges of growing up. This musical adaptation remains true to this essence. Underneath the laughs, there’s a surprising emotional depth. The story explores family dynamics with honesty and sensitivity, touching on themes like fear of change, the challenges of fitting in, and navigating new relationships. “We’re all scared, we try to hide it, but even adults get scared—don’t fight it,” sings the cast in one poignant moment, reminding us that vulnerability is universal. By the time the finale hits, with its jaw-dropping set reveal and a rousing group singalong, you’ll be itching to go home and re-watch the series. This show is unashamedly Australian, unrelentingly fun, and brilliantly crafted to appeal to all ages. Whether you grew up with the original series or are discovering it for the first time, Round The Twist: The Musical  will have you laughing, gasping, and maybe even tearing up. With its affordable rush tickets on TodayTix and its undeniable charm, this is a must-see production. Don’t miss your chance to get swept up in the twists of this lighthouse adventure. Strange things are definitely happening—Grab a ticket before it’s gone! Tickets available here

Strictly Ballroom , presented by Beenleigh Theatre Group as their grand finale for 2024, is an absolute whirlwind of colour, heart, and Aussie charm to bring Baz Luhrmann's original film to the stage. Directed by Daniel Dosek, this iconic Australian musical is packed with everything we love: sequins, romance, cheeky humour, and, of course, the power of dancing to express what words can't. The set, repurposed from previous productions this year, immediately grabs your attention with its dramatic, red-draped design - immersing us in the glitzy world of ballroom dancing - sequins, spray tans, and the stressful quest for that shiny trophy. Set in the early 1980s, the show follows Scott Hastings, a young man from a family involved in the world of competitive ballroom dance who becomes disqualified after doing moves that are not strictly ballroom style. Fran, portrayed by Jade Plaistow, is a young woman from a Spanish migrant family with a passion for dance that comes from the heart, not the rulebook. James Bird as Scott Hastings is easy on the eyes and ears—he's the perfect embodiment of the cocky but vulnerable young dancer. His solo dance numbers give off serious Footloose  vibes (or Troy Bolton in HSM3 ...), channelling the youthful passion of a character who wants to break free from the norm. On the flip side, Jade Plaistow’s Fran is a cute yet fierce presence, and the chemistry between them is heartwarming and believable. Their electric dynamic stands out in their sultry duet of "Perhaps, Perhaps, Perhaps", perfectly capturing the tension between them. Their romantic duet, " Time After Time, " is a standout moment, beautifully sung and danced amidst the fog under the glow of a Coca-Cola neon billboard and twinkling lights. It’s one of those moments that feels genuinely magical, showcasing both their vocal and physical talents in a beautiful way. Although my personal favourite moment is the enchanting "You Can't Have Everything" , where Fran finally asserts herself. Their characters’ journey is genuinely heartwarming, and you can’t help but root for them the whole way through. Supporting performances round out this production with heart and hilarity. Michael Ware delivers a wonderfully deadpan Doug Hastings, the typical “boring dad,” while Bradley Chapman channels every dance mom cliché with gusto as Shirley Hastings. Ruby Thompson's performance as Tina Sparkle is dazzling – from her glittering pineapple dress to the demanding choreography, Thompson’s commitment to the role of the reigning diva of the ballroom embodies all the drama and sass of the original character. Marina Pennisi’s portrayal of Vanessa is comedy gold, channelling the energy of sidekick Gretchen from Mean Girls . Brent Jeffrey is another gem, bringing laughs as Ken Railings, even though his stage time is brief. Every second he’s on stage is packed with physical comedy, proving that sometimes it’s the small roles that steal the show. Similarly, the kids in the cast, including Beau Bruback as Luke and Amelie Iffland as Kylie, bring adorable sass. Their "Let’s Dance"  number is as cute as it gets. Speaking of stage presence, the ensemble delivers with high energy from start to finish. While the opening numbers, like “Strictly Ballroom” and “ All Out War,” had their sound issues due to some troublesome microphones, the ensemble’s commitment to keeping the energy up was admirable. Special mentions go to the standout dancers of the show, Meggie Ryder and Ruby Thompson, who executed the more complex routines with flair and precision. The choreography by Hayley Iffland and Heather Barraclough is impressive in its ambition and it's quite decent in its execution, especially considering the demands of such an energetic dance-heavy show. The "Magnifico" number, where the Spanish characters teach Scott the true meaning of rhythm in dance, is a vibrant celebration of passion and culture. Samantha O'Hare, who plays Fran’s abuela, has a voice that truly soars here, and her vocal power is a joy to hear in the stunning duet " Life is a Leap of Faith." The staging is eye-catching, thanks to the lighting design that bathes the set in shades of red, purple, and blue, capturing the heat on that dance floor. Costumes reflect the glamorous world of ballroom dancing while adding that signature Strictly Ballroom flair, like the feathered costumes in the Act 2 opener, “Beautiful When You Dance." The 7-piece band – led by musical director Peter Laverncic – maintains a lively upbeat atmosphere, and vocal director Nicholas Hargreaves deserves a special mention for guiding the cast to sing with the Australian accent and maintain strong vocal performances while executing intense dance routines. It's no easy task. From the exaggerated Australian accents to the flamboyant wigs to the over-the-top personalities of its characters, Strictly Ballroom doesn’t take itself too seriously. Whether it’s the dramatic character of Barry Fife, brought to life by Adam Iffland, or the scene-stealing Liz Holt (played by Brooke Edwards), the comedic moments are plentiful and laugh-out-loud funny. For fans of Dirty Dancing , Footloose, Grease, or even Priscilla Queen of the Desert ... Strictly Ballroom at Beenleigh Theatre Group is a feel-good, witty, and visually beautiful performance that celebrates individuality, passion, and the freedom to live life on your own terms. If you’re in the mood for a night of humour, heart, and some epic dance moves, make sure you don’t miss this energetic finale to Beenleigh Theatre Group’s 2024 season. Tickets available here

Title: The Lovely Bones Presented By: Beenleigh Theatre Group Genre: Drama/Thriller Play Synopsis: Adapted from Alice Sebold’s bestselling novel, The Lovely Bones tells the poignant and haunting story of Susie Salmon, a 14-year-old girl observing her family and community from the "In-Between" after her murder. This gripping tale explores grief, resilience, and love that transcends even the darkest moments, blending drama, emotion, and unexpected hope. Audition Information: Audition Date (In Person): Sunday, 15 December 2024 Audition Times: Between 9:00 AM and 3:00 PM Audition Location: Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Self-Tape Submissions Due: 3:00 PM, Sunday, 15 December 2024 Callback Dates: To be scheduled on subsequent weeknights after 15 December Audition Requirements: Prepare a contemporary dramatic monologue (1–2 minutes) with a US East Coast accent. Grandma Lynn should prepare a contemporary comic monologue. Available Roles: (Some doubling may occur depending on casting.) Susie Salmon (14, F): The murdered protagonist. A deeply emotional and vulnerable role. Mr Harvey (Middle-aged, M): A disturbing yet seemingly ordinary serial killer. Ruth Connors (14–late teens, F): Introspective classmate with a supernatural connection. Abigail Salmon (35–45, F): Susie’s grieving mother seeking self-discovery. Jack Salmon (35–45, M): Susie’s father, driven by his quest for truth. Lindsey Salmon (13–20, F): Susie’s resilient younger sister. Grandma Lynn (55+, F): A mix of levity and wisdom, providing stability to the family. Ray Singh (14–late teens, M, South Asian): Susie’s crush. Ruana Singh (35–45, F, South Asian): Ray’s perceptive mother. Det. Len Fenerman (30+, M/F): The detective on Susie’s case. Other Characters: Buckley Salmon, Samuel Heckler, Heavenly Girls, and ensemble roles including cops and victims. Some roles include intimacy and pre-recorded audio scenes. These will be carefully managed with an intimacy coordinator. Rehearsal Schedule: Start Date: Mid-January 2025 Days/Times: Tuesdays & Thursdays: 7:00 PM – 10:00 PM Sundays: 12:00 PM – 4:00 PM Performance Details: Opening Night: Friday, 28 March 2025 Closing Night: Saturday, 12 April 2025 Show Times: Friday and Saturday evenings (7:30 PM) & Saturday matinees (2:00 PM) Additional Information: Some actors will be required to film content for cinematic elements in December/January. Due to the mature themes, roles for children will be played by young adults, except for specific heavenly roles. Auditionees must become a BTG member prior to rehearsals ($10 fee). How to Apply: Video Auditions: Submit via email to info@beenleightheatregroup.com by 3:00 PM, 15 December 2024. In-Person Auditions: Book your slot via TryBooking. For further information, download the full audition pack: The Lovely Bones Audition Pack (PDF)

Title: Don't Dress for Dinner Presented By: Coolum Theatre Players Genre: Comedy Synopsis: Bernard is planning a romantic weekend with his mistress at his charming French farmhouse while his wife, Jacqueline, is away. He has arranged for a cordon bleu cook to prepare gourmet delights and invited his best friend, Robert, to provide an alibi. It's a foolproof plan!However, Robert turns up not knowing why he’s there and, awkwardly, he’s Jacqueline’s secret lover. Jacqueline decides to stay, forcing the cook to pretend to be the mistress while the actual mistress reveals she can’t cook. Add in the cook’s protective husband, and chaos ensues with alibis swapped, improvisation galore, and confusion escalating at breakneck speed. Audition Date: Monday, 9th December 2024 Wednesday, 11th December 2024 Audition Time: 7:00 PM Audition Location and Address: Coolum Civic CentrePark Street, Coolum Beach Audition Requirements: No preparation is required. Just turn up. Accent work (French, English posh, English working class) may be explored. Cold reads from sections of the script will be provided. Improvisation exercises may be included. Available Roles: Bernard: Male, late 30s to mid-50s. Handsome businessman, flirtatious, dapper, and self-assured. Jacqueline: Female, late 30s to mid-50s. Bernard’s wife, assertive, romantic, intelligent, and modern. Robert: Male, late 30s to mid-50s. Handsome, reserved, seemingly nice but a secret scoundrel. Suzette: Female, late 20s to mid-40s. The cook, funny, friendly, working-class, with hidden sophistication. Suzanne: Female, late 20s to late 30s. Bernard’s mistress, chic and stylish but easily flustered. George: Male, mid-50s+. Suzette’s husband, strong, protective, intimidating, and no-nonsense. Performance Dates: Friday, 28th March 2025 at 7:30 PM Saturday, 29th March 2025 at 7:30 PM Sunday, 30th March 2025 at 2:00 PM Friday, 4th April 2025 at 7:30 PM Saturday, 5th April 2025 at 7:30 PM Sunday, 6th April 2025 at 2:00 PM Performance Location: Coolum Civic CentrePark Street, Coolum Beach Production Website: Auditions Information Other information: For further details, contact the director, Nick Smith, via email at nickinbuenos@gmail.com

Agatha Christie's ' Murder on the Nile ', directed by Sharon White and performed at Nash Theatre, is a gripping and unexpectedly funny dive into love, betrayal, and murder. Set aboard an opulent riverboat, the production sweeps you into a world of class, chaos, and conspiracy. It's a theatrical voyage that'll have you gripping the edge of your seat and laughing at the absurdity along the way. The set, designed by Sharon White and constructed by Phil Carney, is a standout element, recreating the saloon of a luxury Nile riverboat with remarkable detail. From the elegant couch and wicker chairs to the decorative tassel pillows and beautifully painted backdrops by Philippa Dwyer and Helen Barrett, every piece invites you into the lavish yet claustrophobic setting. It’s the perfect stage for this deadly drama. The cast brings their A-game, nailing accents (British, French, and German) and immersing the audience in the riverboat journey. Samantha Herde plays Kay Mostyn with poise and grace, kind of like Rose from Titanic with her classy accent, aristocratic air, and nerves that could snap at any moment. Playing her beleaguered hubby Simon, Matthew Hobbs is a man trapped in a web of his own making. You can really feel his frustration with Philippa Dwyer as Jacqueline de Saverac—his dangerously unhinged ex-fiancée—as she begins coming apart at the seams. Hobbs perfectly captures Simon’s stress and panic as his carefully managed world starts falling apart. Philippa Dwyer’s performance as Jacqueline de Saverac is magnetic. She plays the jilted lover with a mix of heartbreak and threat that's just riveting; from her cheeky grin when she first struts on stage to the drunken tirade that leaves everyone holding their breath. You just can't help but be drawn in by her wild-eyed determination and calculated actions. The supporting characters add humour and intrigue to the drama. Linda Morgan as Miss ffoliot-ffoulkes is wonderfully self-absorbed, delivering melodramatic moments that land perfectly. Jonathan Knox as William Smith is the comic relief we all crave. His comedic timing is spot-on, and his awkward attempts to woo Madelyn Scott as sweet and demure Christina Grant are a fun break from the murder mystery. John Mann as Canon Pennyfather is a natural fit. His charmingly straightforward demeanour and expressive way of speaking perfectly captures the character who unwittingly becomes the confidant and detective. Cheney Hossack, portraying Louise the maid, brings an additional layer of intrigue with her authentic French accent and an air of knowing something we don't. Meanwhile, Thomas Bean as the steward maintains a quiet but notable presence, always lurking, observing and subtly grabbing attention when it counts. Phil Carney’s lighting and sound design are minimal but effective, keeping the focus on the cast's performances and the script. The sound effects—such as the startling gunshots and atmospheric riverboat sounds—add subtle layers of authenticity to the production. Director Sharon White has done a fantastic job balancing the suspense and humour. The pacing is excellent, ensuring that each scene lands its emotional or dramatic impact. As the play unravels, it’s a joy to piece together the clues alongside the characters. The layers of drama, gossip, and romance woven throughout the investigation keep you guessing until the final, breathtaking revelation. As someone who had never read the book or seen the film adaptations, the experience of playing detective in real time added a personal thrill to the evening. With its polished performances, stunning set, and intriguing storyline, Nash Theatre’s ' Murder on the Nile' is an enthralling journey into the mind of Agatha Christie. Fans of classic murder mysteries, suspenseful drama, or even sharp comedic moments will find much to love here. Step aboard this spellbinding production before it sails away! Now playing until 7th December 2024 Tickets available here

Now showing at Southbank, (at the QLD Maritime Museum beneath the Goodwill bridge), Darkfield’s immersive experiences, ' Séance' and ' Flight' , are perfect for those eager to try something new and dive deep into the unknown. After braving both, I can assure you that while ' Séance'  is undeniably chilling, ' Flight'  took the cake for me, leaving me pondering its mysteries long after my feet were back on solid ground. These one-of-a-kind experiences are designed for small groups, which adds to the intimate atmosphere of the scenarios. Each one is a 20-minute adventure inside a shipping container in complete darkness. The container for ' Flight ' has been transformed into a highly realistic airplane cabin. When you hop on board (I recommend sitting in an aisle seat), you get the usual safety briefing from a flight attendant on screen, along with the usual airplane noises—but this time, everything feels a bit... off. As the lights go out, the world as I know it ceases to exist, leaving you with just binaural audio in your headphones. It’s a challenge to explain the feeling—there’s a real vulnerability in being so stripped of sight, yet so aware of the space you share with others. It's easy to forget you're still in a shipping container. The sense of reality is that strong. Once the darkness envelops you, you’re plunged into a mind-bending journey. The sheer realism of the sounds—the hum of jet engines, whispers from passengers nearby, babies crying, the attendants walking up and down beside you (I kept reaching out to feel if she was actually there), the captain’s breathy voice in your ear, and your seat suddenly shaking as the chaos of an emergency situation unfolds. It’s more than just a terrifying thrill; it’s a mind game, making you wonder what’s real and what’s not. Now, ' Séance' ... while equally immersive, is more of a psychological experiment in supernatural superstition. It’s no less impressive, but it’s a different kind of terror, relying on the tension of the unseen. If you love the thrill of a good ghost story and the eerie atmosphere of a séance, you won’t be disappointed. I must admit, my ears were a bit too sensitive for the ending of 'Séance'; the sounds were intense, and the eerie silence that followed felt almost too much. The moving table is a clever touch that really adds to the feeling of being part of something beyond our regular sensory perception. My stomach dropped as the experiences wrapped up, and when the lights flickered back on, it was clear I wasn’t the only one who had been captivated. The other participants had their heads down, completely engrossed in what had just unfolded. The collective focus and shared moment of astonishment was electric.   The way Darkfield uses binaural audio to immerse you so completely in the experience is unparalleled. Even though I was physically sitting in a dark space, the sounds painted a vivid picture, with every whisper, creak, and thud positioning you perfectly within the experience. It allows your imagination to run wild and heightens the sense of dread (but don't worry, there's some humour in both scripts too!). I highly recommend grabbing tickets for both shows, especially if you’re a thrill-seeker looking to test your nerves, need a fresh date idea, or just want an experience that you won't find replicated anywhere else. Trust me, after ' Flight' , you’ll be questioning the very nature of reality—and probably double-checking your seatbelt the next time you fly. For those who may have reservations about the intensity, don't stress—there's an opt-out option, plenty of info beforehand, and nothing too wild when it comes to motion. The experience is designed to be unsettling but totally safe, and there’s a real thrill in stepping into the unknown. At less than $30 for a session, Darkfield offers excellent value for a truly unique adventure. With multiple sessions every day, it's easy to find a time that fits your schedule. Go give your senses a whirl because this experience is definitely worth checking out. Tickets available until 8th December

Created by Alinta McGrady and brought to life by Playlab Theatre, this immersive horror-comedy reminds us why we love live theatre: it’s raw, relevant, and relentlessly entertaining. There was a certain thrill in attending the world premiere of ' Eat Slay Zombie' at QPAC’s Cremorne Theatre, and this piece did not disappoint. Set in a post-apocalyptic Brisbane where zombies have taken over and TikTok somehow reigns as the last form of communication, the story follows best mates Sharee (Shahnee Hunter) and Tash (Jade Lomas-Ronan) as they hunker down in a bowling alley, keeping score of their zombie takedowns and sharing survival tips with an invisible online audience. As these two Indigenous characters navigate their new world order that is literally and metaphorically “out to get them,” the result is a comedic, high-energy show that cleverly addresses social commentary on colonialism, trust, and survival. The dynamics between characters were played brilliantly by Shahnee Hunter and Jade Lomas-Ronan. Hunter’s Sharee was strong but deeply wounded, giving us moments of grit and mistrust, while Lomas-Ronan’s Tash was her perfect counterbalance, optimistic and resourceful. Their fiery friendship was put to the test when a new survivor, “B” (Jalen Sutcliffe), entered the scene, offering more humour with his bizarre blend of bravado and buffoonery. Tash’s excitement at discovering someone else alive contrasted with Sharee’s more jaded distrust, providing an emotional push-and-pull that felt true to a strained friendship. Sutcliffe, as B, was hilarious but occasionally haunting, especially in a darkly confessional monologue where he revealed his backstory – a poignant moment that grounded the character’s vulnerability. One of the best aspects of ' Eat Slay Zombie'  was its sharp, socially aware humour. McGrady’s script layers the story with satirical references to colonisation, poking fun at survivalism with scenes like Sharee’s loving relationship with her makeshift flamethrower, “Doris.” We saw nods to Indigenous issues embedded into zombie tropes, as Sharee jokes, “I need a nap, a bag of chips, and my land back." With direction and immersive design by Lisa Fa’alafi, the show’s technical elements were equally standout; a testament to Playlab Theatre’s trademark embrace of multimedia. From EDM beats and nostalgic tracks to Mad Max-inspired lighting, and projections of TikTok videos, every visual and sound choice supported the frantic atmosphere. Nevin Howell’s AV design seamlessly integrated social media and gaming with live action, elevating the production to cinematic levels. The floor lit up like bowling alley lanes while doubling as a hidden spot to store food and weapons. Watching Sharee and B's thrilling “Brunnings” battle sequence, choreographed with game-like graphics projected onto the stage walls and floor, was a highlight. The thematic undertone—zombies as symbols of colonial occupation—was both pointed and powerful. At one point, Sharee’s fury at seeing her content plagiarised evoked a powerful commentary on the theft of Indigenous voices. The climax of the show was as intense as it was emotional, with Tash and Sharee’s friendship tested to the breaking point. The strobe lighting heightened the tension as the two faced an unimaginable decision: one of them, newly infected, had to be “taken out”. It was a moment of raw emotion, a cathartic release of the frustrations that had been simmering between them throughout the show. Yet the show left us on a note of hope — a reminder that, even in the darkest times, connection can still thrive. 'Eat Slay Zombie'  was a celebration of survival, resilience, community, and reclaiming autonomy in a world that sought to take it away, cementing this work as an excellent addition to the Australian Indigenous theatre landscape.

A One-of-a-Kind “Art Attack” for Adults   I didn’t know quite what to expect from ' Creative Jucies' , but it’s safe to say this isn’t your average art class. Led by the fabulously fearless Timothy Christopher Ryan, this 60-minute show was equal parts performance, life drawing class, and hilarious group therapy session.   From the very start, Timothy put the audience at ease, laying out a big emphasis on consent for participation. If you wanted to be hands-off, no worries, but if you were up for a laugh and a bit of spontaneous involvement, you were in for an experience!   Timothy’s vibe was instantly infectious; he invited us all to leave our inhibitions at the door, guiding us through absurd prompts and creative chaos with warmth and total confidence. His striptease was a laugh-out-loud highlight, revealing layer upon layer of underwear. His confidence and charm turned an intimate, small space into an artsy playground, making everyone feel like an old friend – or at least a willing accomplice.   My favourite part? It has to be painting Timothy’s nearly-nude body with glow-in-the-dark paint. By the end, my “art” was definitely more “fridge magnet” material than masterpiece, but that’s the beauty here—everyone’s encouraged to get creative without worrying about perfection. Add to that the life modelling, wacky drawing prompts, and Timothy’s boundless energy, and you’ve got yourself a hilarious, immersive escape.   This unique, interactive show was a highlight at MELT Festival in Brisbane, delivering an unforgettable dose of self-expression. It’s weird, wonderful, and just a little bit wild – definitely worth the laughs and the artistic chaos!   Catch Creative Juices  as it continues to tour around Australia with Scratch Arts. If you’re up for a unique, intimate, and hilariously unpredictable experience, don’t miss this wild ride at a city near you. It’s 60 minutes of pure creative mayhem, and you’ll leave with a smile—and maybe a few questionable artworks to take home.

'Gaslight' , presented by Sandgate Theatre and directed by Catherine Radbourne, is a chilling psychological thriller that holds its grip on the audience from beginning to end. Written in 1938, Patrick Hamilton’s play dives deep into the dark dynamics of a treacherous marriage, coercive control, manipulation, and the mysteries of the past. This production brings the suspense vividly to life at the Sandgate Town Hall, with standout performances and carefully crafted tension that makes for a riveting experience. Set in 1880s London, ' Gaslight' unfolds in the unsettling confines of the Manninghams’ Victorian home, where Bella Manningham (Shannon Bea) is increasingly convinced that she is losing her mind. As strange occurrences unfold, her controlling husband, Jack Manningham (Ewan Orton), undermines her sense of reality. His disappearances, his flirtation with the servant, and the ominous dimming of the gaslights begin to drive Bella to the edge. But when Inspector Rough (Gareth Macready) arrives, the pieces start to fall into place, revealing the tragic mystery of a murder committed for hidden jewels and the true depth of Jack's malice. The living room set, filled with ornate furnishings, a fireplace, and glowing gaslights, creates an inviting yet eerie feel. Most of the action takes place upstage, pulling us into the Manningham household’s suffocating atmosphere. The performances are where this production truly shines - complete with flawless accents. Shannon Bea's portrayal of Bella feels especially authentic, showing a woman trapped in a world where she must walk on eggshells—her furtive glances, wringing hands, and wide-eyed anxiety tell us more than words ever could. From her very first moments onstage, Bea wears a look of constant worry that never falters. As the story reaches its climax, we can feel her fear as she visibly trembles in moments of tension, while we heartbreakingly witness her trying to maintain her composure. A particularly emotional moment occurs when Bella reads a letter from her family that had been hidden from her, causing her to break into very real tears – a powerful touch that further immerses the audience in her distress. Ewan Orton brings a chilling intensity to the role of Jack Manningham. His portrayal is all about contrast: he can switch moods in an instant, using sudden shifts in tone to keep Bella (and us) constantly on edge. Orton's voice exudes authority even when speaking in a gentle tone, conveying either a façade of kindness or an obvious seething anger. There’s a visceral sense of disdain in the way he addresses Bella as “my dear,” a term that drips with irony as their interactions become colder. Later, his constant dismissive “Bella...” drips with cruelty as he gaslights her at every turn. Notably, he refrains from physically touching Bella throughout the play, which makes his psychological abuse all the more sinister. With mere words and presence, he wields incredible power to instil fear and it’s unnerving to watch. His continuous mocking and degrading of her, even going so far as to threaten their dog, made me want to slap his smug face - a clear testament to Orton’s skill in making Jack utterly despisable. The supporting characters bring a much-needed balance to the dark atmosphere. Gareth Macready’s Inspector Rough arrives as a welcome dose of comic relief and a glimmer of hope, providing Bella (and the audience) with a lifeline out of her nightmare. His quick thinking and slightly disheveled charm contrast wonderfully with the refined façade of Bella’s life with Jack, helping her uncover the truth that’s been intentionally obscured. Macready adds wonderful acting nuances, like dabbing his forehead with a handkerchief and stroking his beard thoughtfully. Though he occasionally jumped his lines, his portrayal remains strong, and he brings levity to the production without undermining the gravity of Bella’s plight. Alanna Sadler as the younger maid, Nancy, is cheeky and flirtatious, her scenes with Jack adding to his callousness toward Bella and creating more layers of tension. Carmen Heath’s Elizabeth, in contrast, provides a much-needed sense of care and stability for Bella, standing in as a rare source of gentle comfort. Catherine Radbourne’s direction creates a fast-paced rhythm, rarely lingering on dramatic pauses, which keeps the story moving forward while allowing the underlying tension to simmer. There are unsaid elements that resonate between the lines, lending a psychological weight to the dialogue. Sound and lighting effects play a vital role in the suspense of ' Gaslight' . The haunting sound of footsteps above, suggesting Jack’s nightly searches in the upstairs apartment, was executed with realism, making me feel as if someone truly was creeping around in the ceiling. The lights dim and brighten ominously, adding to Bella’s confusion and feeding into the psychological horror. The ending is a perfect payoff as Bella delivers her own brand of justice, using Jack’s manipulation against him in an “reverse Uno card” moment that earned huge cheers from the audience. Don't miss the opportunity to see this timeless thriller at Sandgate Theatre. This suspenseful and expertly performed piece comes highly recommended for those seeking a masterclass in psychological tension. Tickets available here