Search Results

Presented by QPAC, Bangarra Dance Theatre introduces its first production for children, Waru – Journey of the Small Turtle . Designed for kids aged 3-8, this production is truly enchanting. Under the star-illuminated skies of the Torres Strait, a green turtle named Migi embarks on a journey back to sandy shores of her birth. Directed by Stephen Page, with cultural creatives Sani Townson and Elma Kris, and a talented team of writers, composers, and designers, Waru  offers a beautiful introduction to Torres Strait Islander culture.   The show immediately captivates with its beautiful set, featuring an island hut, real sand and a stunning visual landscape of water and stars. The sound effects masterfully transport the audience to a serene beach night, with soothing auditory elements like the rustling of a broom on sand, the gentle lapping of water, and the whisper of the wind. Complementing this, the lighting design bathes the stage in the tranquil hues of the Torres Strait Islands. The performance, depicting the story of Migi the turtle, is skilfully performed by the talented pair Aba Bero and Elma Kris. Aba Bero captures the essence of the turtle with deliberate and slow movements, mirroring the graceful physicality of a real turtle. Through the detailed costume, Migi quickly captivates the hearts of the audience. Elma Kris, portraying the narrator and protagonist, engages in an exciting dance-off with the lizard while safeguarding the turtle eggs using a broom, a scene that delighted the children immensely. Her character's resemblance to the caring, whimsical, and humorous grandmother in Disney's Moana brings a delightful and recognisable element to the performance. Introducing young children to Indigenous cultures and stories is not only entertaining but also profoundly educational. The performers actively involve the audience in the narrative, while imparting knowledge of language, animal behaviour, and natural elements. Additionally, they effectively convey messages about environmental conservation in a manner that is accessible to young minds. The appearance of the trash monster, symbolising a turtle entangled in waste, conveys a simple yet impactful message: "plastic is bad for the ocean." Waru  serves as a beautiful gateway to Australia’s diverse cultural heritage, fostering respect and understanding from an early age. By teaching some dance moves, they encouraged the young audience to joyfully participate in the music, such as the celebration of the hatching of the baby turtles and their journey to the ocean. The presence of an Auslan interpreter ensures that the show was inclusive, allowing hearing-impaired audience members to fully engage with the performance. This effort highlights Bangarra Dance Theatre’s dedication to making their cultural storytelling accessible to a broader audience. Despite the usual commotion and occasional tantrums typical of such young audiences, the captivating nature of the show successfully retains the attention of the young attendees. The evident delight and curiosity expressed by the children is reflected in their spontaneous interactions and questions. Prior to the show, crafting activities are available in the foyer, where families can craft turtles from recycled materials, some of which are even showcased on the stage. This hands-on engagement not only fosters creativity but also imparts lessons on recycling and environmental care. Waru – Journey of the Small Turtle  is a wonderful cultural experience that forces you to slow down and appreciate the beauty of nature and the importance of conservation. The show offers families an enriching and enjoyable outing at $35 per ticket. While the leisurely pace of the show may pose a challenge for those with shorter attention spans, it also offers a relaxing and meditative experience that is quite beneficial. Based in NSW, Bangarra Dance Theatre, continues to tour this exceptional show around Australia, bringing the full cycle of the small turtle’s journey to life. Photographs by Daniel Boud Tickets and Information available here

Thorough Preparation Being super prepared is irreplaceable to ensure a confident performance. It means practicing like a pro, fixing boo-boos early on, and having clear goals. Procrastination, avoidance, and getting sidetracked can mess up your prep, leading to those inevitable nerves. Just like programming a computer, feeding our brain the right information through disciplined practice lets us perform like a boss even when the pressure's on. But watch out, any slip-ups and clumsy bits you learned during the initial stages can resurface when the heat is on. Practice Party for the Weeks Before Showtime SLO-MO MODE: Slow and steady wins the race when learning new tunes. Try slowing down with a metronome (or singers, use that Google Chrome extension to slow down or transpose tracks). This approach allows for the development of technical proficiency and rhythmic control. By cranking up the speed little by little, you can challenge yourself without even noticing the tempo rising. CHOP IT UP: Breaking your practice into bite-sized bits keeps you focused and relaxed. Small, concentrated practice help your brain process info better, making learning and retention a breeze. SET GOALS: Splitting big goals into smaller victories and tracking your progress pumps you up, keeps you on track, and gives you direction. MEMORISE: Knowing your music inside out lets you to focus more on musical expression during the performance. Singers and pianists will often internalise their music to enhance their connection with the piece and audience. Practice Plan for the Days Before Showtime GET IT TOGETHER: As the big day nears, shift your focus to solidifying your skills instead of last-minute cramming. Play or sing through the whole shebang without stopping a bunch of times each day to build up your stamina and confidence. This is different from your usual practice, which often involves lots of stops and starts. FAKE IT 'TIL YOU MAKE IT: Run through pretend performances with your pals as your audience. Take these rehearsals seriously to mimic the real deal. Mentally prep all day, setting the stage just like the actual performance. Practice in your performance gear with some background noise to boost your focus and test your memory under tough conditions. REHEARSE WITH ACCOMPANIST: If performing with an accompanist, rehearse together extensively beforehand if possible. Give clear cues for entrances and tempo preferences, rehearsing opening passages multiple times. Make sure the tempo reflects your comfort level. Study the music inside out to avoid slip-ups; but if you mess up, maintain the beat and trust your accompanist to get you back on track. Provide music well in advance, mark breaths and tempo changes in the score, and acknowledge their contribution post-performance. SCHEDULE SMART: Plan out your days leading up to the show. Don't overload yourself with commitments right before or on the big day. Balance your practice time with some chill time. Good time management cuts down on stress and amps up your readiness. OWN THE STAGE: Practice your stage presence, especially if you're a newbie, with a mentor or buddy by your side. Getting comfy with the stage routine boosts your confidence and poise. Audiences love a performer who owns it. Prepare attire well in advance to avoid last-minute wardrobe malfunctions. STAY FRESH: Keep your body happy with regular exercise, enough rest, and good eats. Relax those tense muscles with a swim or stroll. Eat well while keeping a lid on the caffeine, smokes, and booze to max out your performance power. THE NIGHT BEFORE: Set up a chill routine the night before for a good night's sleep and mental prep. Avoid late-night rehearsals if possible or any post-rehearsal outings. Wind down with a calming activity like reading, a cozy drink, or a soak to unwind. Dealing with the Hours to Showtime GET READY: Prep your body and mind for peak performance. Keep busy to shut out those nervous thoughts while making sure all your gear is good to go. Check your instrument (if you have one) to dodge any last-minute surprises. Warm up with gentle exercises and easy run-throughs to save your mojo for the real deal. Cut back on the chitchat and unnecessary stresses. Focus on your role or character to get in the zone for showtime. GRAB A BITE: Chow down on some carbs for lasting energy, keeping the greasy stuff in check. If eating is a struggle, go for glucose treats or sports drinks to keep your energy up. Musicians might sneak in a bit of chocolate for a mood boost. But singers, watch out for that mucus trap with dairy products. CHILL OUT: Find ways to relax, whether it's reading, strolling, meditating, showering, fresh air, or sunshine. Moving around can ease tension, helping you to relax and get set for the show. EARLY BIRD: Give yourself plenty of time for warm-ups, prep, and getting comfy in the performance spot. Ensure sufficient time to locate and familiarise yourself with the venue. Avoid rushing to reduce pre-performance stress. LOOSEN UP: Consider bringing a mini massager to soothe your neck, shoulders, and pressure points. Massage helps shake off the tension, setting you up for a relaxed and focused state before going onstage. Or try gentle stretches for your back, shoulders, neck, jaw, and tongue. A light massage above the eyes can release emotional stress and get you in the zone to perform without overthinking. Handling the Moments Before Showtime BREATHING AND VOCAL WARM UPS: Engage in gentle breathing exercises and vocal warm-ups. Do sustained low notes or slow scales to prepare your voice and calm nerves. TEMPERATURE CONTROL: Avoid cold drinks and environments to prevent muscle tension in your limbs. Cold contracts muscles, so stay cozy to keep those muscles relaxed and ready for action. If it's too toasty, find ways to cool down with water, fans/air con, ice packs, and fresh air. Handheld electric fans are a lifesaver for heavy costumes and wigs. FIDGET FIX: Occupy those jittery hands with finger workouts, fidget toys, or squishy stuff. Focusing on physical fine motor movement can divert attention from nervousness, promoting concentration and readiness. POSITIVE MENTALITY: Mentally rehearse the performance with positivity and confidence. Visualise success, imagining using effortless projection and a clear tone. PROTECT YOUR SPACE: Maintain personal space backstage. Avoid unnecessary distractions or gossip that may disrupt your focus. Establish personal rituals to centre your thoughts and energies before going onstage. KEEP IT LIGHT: Have some fun to ease the tension. Crack jokes, play games, whistle a tune, whatever gets you in a good mood and keeps the vibe positive backstage. Tips for the Final Countdown BREATHING: These moments are crucial for staying cool as a cucumber and dodging any freak-outs. Take a breather backstage, do some slow breathing and centring exercises that work for you. MOVE YOUR BODY: Shake out your limbs and hands to get the blood flowing to your fingers and feet. VISUALISE SUCCESS: Picture yourself as a superstar character or performer, embodying their posture and positive vibes. POSTURE CHECK: Stand upright with relaxed posture, exuding confidence without stiffness. FACIAL EXPRESSION: Wear a bright, confident smile or a composed, dignified expression to set a positive tone. BODY CHECK: Do a quick body scan to make sure you're relaxed and ready: Check if your head feels relaxed, forehead smooth, jaw unclenched, and mouth not too dry. Keep your neck loose, shoulders down, hands free, and relaxed. Chest is upright and contracting air easily. Make sure your stomach is comfy, legs strong, knees unlocked, toes unscrunched, and feet firmly planted. PART 6 CONTINUES… How to Perform to the Best of Your Ability

Unhelpful Reactions to Fear of Performing Oh, fear, you tricky little devil! Sometimes it can make us react in the most unhelpful ways. Here are eight common reactions many of us have probably experienced: Fight or Flight - When fear kicks in, you're ready to either fight like a ninja or sprint like Usain Bolt - all in the name of survival. Les Misérables - You're torturing yourself with thoughts of epic fails before a performance, like forgetting the lyrics or freezing up completely, leading you to be in a miserable state. You might sacrifice opportunities to avoid the challenge completely, like thinking someone else should take your role or putting off learning a tricky piece until the time feels right. Robots Anonymous - Ever tried performed in a zombie-like trance because you have blocked out all thoughts to escape the stress? I have! Let's just say, my youthful performance videos where I could have sworn I was 'smiling' are actually a collection of me in a dissociative state. The Artful Dodger - Who needs a performance when you can fake a sudden illness or come up with the most creative excuses to avoid it altogether? Procrastination - Why start preparing now when you can procrastinate and end up a nervous, insecure wreck later? Sounds like a solid plan, doesn't it? Avoidance - Completely avoiding playing or singing due to acute stage fright, which eventually plummets your self-esteem because you are allowing the fear to control you. The Buck Stops Elsewhere - Blaming others or external factors for one’s own shortcomings to avoid personal responsibility. i.e. Blaming the teacher for choosing a difficult song or saying you were distracted by noise or movement in the audience. Becoming Detached from the Audience - Who needs the audience anyway? Pretend they're invisible and deliver a performance so bland you could use it to cure insomnia. Positive Strategies for Coping with Fear Ready to tackle fear with a smile? Here are some positive strategies to help you conquer those anxieties and shine like the star you are: Embrace Your Fears - Give your stress and tension a big bear hug! Acknowledge your fears, laugh at them, and watch them lose their power over you. Prepare Thoroughly - Practice, practice, practice! No, seriously, practice some more. Being prepared is half the battle won. More on this later. Confidence through Repetition - Performing frequently makes it less of a major event and more of a familiar routine. When I was cast in a lead role in a musical it was a huge relief. I became so used to going on stage, it became as easy as any other job. Reverse Roles - Anxious performers feel exposed and vulnerable. Imagine the audience or jury panel in their underwear or naked to feel more secure by comparison. Shift the Focus - Redirect your attention away from tense body parts. For example, think about moving the tension from your jaw to your toes, or focus on deep breathing instead of your stiff shoulders. Chill Out - Relax with some meditation, yoga, or deep breathing. Zen mode: activated! Spot a Friend - Find a friendly face in the crowd and serenade them. This creates a positive connection with the audience. I always tell my nervous students to find my face in the crowd and perform to me as if it were any other singing lesson. Connect with the Audience - Remember, the audience is there for you because they believe in your talent. Show them some love, and they'll return the favour. The Paradoxical Approach - Make those hands tremble and knees shake on purpose. Even deliberately committing a small mistake can also help to alleviate anxiety. Embrace the nerves and watch them fade away. It's like reverse psychology for stage fright! Visualise Success - Visualise a successful performance in detail well before the event to create a self-fulfilling prophecy. Get Lost in the Performance - Focus on the love for your work and the joy of sharing it with others. In group performances, create eye contact with your peers to open yourself up to connection. Use Your Imagination - Add flair to your performance by inventing a storyline that fits the mood you want to project. This shifts your mind from worries to artistic expression. Spread the Love - Helping fellow performers is the ultimate distraction from your own fears. Plus, it makes you look like a superhero in the process! Believe in Your Talent - Critics, schmitics! Don't let them rain on your parade. Remember, even The Beatles got rejected from a recording company. So, keep rocking and focus on your passion for your art! Enjoy the Ride! Performing is fun, remember? Many performers take themselves too seriously and miss the moods, emotions, and even humour intended by the composer. Look for the beauty and craftsmanship in the music, and the difficulties will be easier to face. If you enjoy the music, so will the listeners. Personal Musings: Back in the day, I used to perform like a robot on autopilot, shutting down my emotions to survive the anxiety. My biggest problem was a lack of perspective: I thought every audition or performance was going to make or break me. However, being prepared both emotionally and technically has helped me maintain perspective. No single performance, exam, or audition is the be-all and end-all of my career. Remember, the art is what matters most, not your fears or insecurities. PART 5 CONTINUES… How to Prepare for a Confident Performance

Cracking the Code of Our Crazy Thoughts As we stumble through this thing called life, it's crucial to unravel the mysteries of our thought patterns (and keep an eye out for any sneaky distortions). We all have that little voice in our heads that can go from cheerleader to critic in a nanosecond, especially in high-pressure situations. Let's dive into some common thinking habits that might be playing tricks on us and ways to outsmart them. Thinking Habits That Hamper Our Performance Filtering: Have you ever caught yourself focusing only on the negative aspects of a performance or rehearsal while overlooking the positives? Guilty as charged, right? You might replay every sour note in your head but conveniently forget the golden moments. Try not to use negative language like 'terrible' or 'awful' when evaluating yourself. Try recording your performances or rehearsals and revisit them later when you can be more objective. Also, consider whose feedback you value and take to heart. Extreme Thinking: It's easy to fall into the trap of seeing things as either flawless or a complete fail. Maybe try thinking in percentages instead. For instance, “I nailed 95% of those notes” or “5% of the time I'm slacking, but the rest, I'm a powerhouse!" Wild Assumptions: Jumping to grand conclusions based on a single mishap and expecting history to repeat itself. Remember, missing a note once doesn't mean you're doomed to miss it forever! Toss out words like "never," "always," and "everybody else." Opt for more bendy terms like "often" and "in some cases." It's all about finding that sweet spot in the middle. Mind Reader Syndrome: Assuming we are mind-reading pros can dial up the unnecessary stress levels. If no one's throwing shade your way, maybe there's no shade to throw? When in doubt, just ask for feedback instead of conjuring up worst-case scenarios. Disaster Fantasies: Always bracing for the worst-case scenario? Remember to challenge those doomsday fears and think realistically. Did that sniffle really morph into pneumonia? Probably not. Me, Myself, and I: Taking everything personally and measuring ourselves against others can be a real energy drain. Keep in mind, people's reactions often have nothing to do with you. If someone's looking glum in the audience, they might just be having a rough day. Control Freak Fantasies: Swinging between feeling like a helpless bystander of fate to believing you need to solve everyone else's problems. Remind yourself that you call the shots on your actions and reactions. You're in charge of you, not the entire world. Fairness Fables: Sometimes expecting the same level of fairness in every situation can set us up for disappointment. For instance, assuming that if someone truly thought you were a wonderful vocalist, they'd automatically ask you to sing at their wedding or assuming you should get a solo because you are the most experienced performer in the room. Instead of fixating on what's "fair," it's best to lay your cards on the table and communicate openly about your desires. Life's not always a level playing field, so adjust those expectations accordingly. Fallacy of Change: Thinking you can change others if you pressure them enough. For example, trying to make others change by blaming them, demanding things of them, or constantly arguing with them. Your happiness depends on you, not on changing others. Feeling = Fact: Assuming that our emotions paint a true picture of reality. For instance, feeling like an incompetent failure just because you're having a clumsy or sluggish day. Global Labelling: Slapping broad negative labels on people or situations based on a tiny snippet of info. For example, branding someone as a "bully" or "dumb" after a mere handful of encounters. Instead of jumping to conclusions, ask yourself if your label fits all the time, only in certain scenarios, or just in the heat of the moment. Blame Game: Flipping between blaming ourselves to dumping responsibility on others for our mistakes and choices; e.g. blaming your teacher for not acing your audition. Own up to your choices and remember, blunders are part of the human experience, and learning to accept ourselves, faults and all, is key. Mustered Should's: Feeling guilty for not meeting sky-high standards or being inflexible with expectations. Dropping 'should' and 'if' bombs left and right and setting up rigid rules for ourselves, like "I should never have made a silly mistake like that!" or "If only I had hit snooze one less time to warm up better." Stay flexible with your guidelines and values. Recognise that there are exceptions and unique circumstances to consider. Being the Know-It-All: The constant need to always be right, even at the expense of relationships. Listening to others and entertaining different viewpoints is essential. Remember, most situations have multiple valid perspectives. Heaven’s Payback Delusion: Believing that grinding non-stop guarantees a VIP ticket to success. If you're stuck in hustle mode without a breather, you're cruising for a burnout. Strike a balance between hard work and kicking back. Make sure to schedule time for relationships, recreation, and just live in the present moment. How Our Mind Can Work for Us Remember, these thoughts can sometimes lead us on a wild goose chase. By recognising distorted automatic thoughts, we can prevent them from taking over and guiding your actions. Acknowledge these thoughts instead of hiding them, then counter them with positive, proactive thoughts. Many top athletes attest to the power of mental preparation. In the showbiz world, we ought to tap into this tool more often. Visualising triumph can work wonders in dodging a failure. Emotional Freedom Technique (EFT) EFT is like a therapy sesh where you spill your guts and lace it with warm, fuzzy words. For instance, try, "Even though I trip up, I still love and respect myself." Voice these affirmations to combat self-sabotage. Program your mentality during preparation, and you'll find it responds more effectively under pressure. Learn to slow down internally and condition yourself to handle stress. Slow, deep breathing can help access coherent thought and make your brain work for you instead of against you. It might be a tough nut to crack if you're wired to be self-critical, but a healthy dose of self-love is the secret sauce for shining bright (and acing this game called life.) Remember, you hold the power to shape your thoughts and reactions. Embrace these tricks to tap into your brain's superpowers and level up your performance. TO BE CONTINUED... Part 4: Positive Strategies for Tackling Fear

Cracking the Fear Code Hey there, fabulous performers! Let's chat about fear, the quirky natural emotion that's totally normal and kind of like your backstage buddy. It's like your personal alarm system, nudging you to pay attention and dodge potential mishaps. Picture this: fear of being followed? You'll be on high alert. Nervous about flubbing your act? You'll be rehearsing like a pro. Fear, in moderation, is your trusty sidekick, keeping you sharp, amped up, and focused. Taming the Adrenaline Beast But when fear gets out of control, it's like a wild rollercoaster ride to Panic Town, with Anxiety Avenue as a pit stop. You might notice symptoms like dry mouth, shaky breath, feeling like you're in a breath-holding contest mid-performance, or rushing through your gig and losing control. Your muscles might tense up, your knees do the shaky dance, or your brain can pull a vanishing act. Standing performers often have to deal with quivering knees, which can make you lock them to stay upright—only to create more tension in your body! In the days leading up to a performance, you might experience nightmares, sleepless nights, irritability, and difficulty concentrating. And right before you go onstage, you might have a queasy stomach, shaky hands, or even an urgent need for the toilet. These symptoms are part of the 'fight or flight' reaction—your body's way of preparing for a threat. Your heart races, your blood pressure skyrockets, and your brain gets a VIP blood supply while your tummy gets ghosted. While these reactions are meant to protect you, they can sometimes feel overwhelming, making it hard to stay calm and poised. When stress hits, your body goes into overdrive, causing you to sweat and feel flushed. You might rock the icy-cold, clammy hands look, which isn't ideal for playing instruments. Even with top-notch breath skills, stress can turn you into a hyperventilating balloon or a breath-holding statue. These reactions might pop up not just during your show, but even during the pre-show mental warm-up. Adrenaline is the culprit behind these symptoms. With awareness, you can learn to channel this energy into sharpening your focus and heightening your emotional intensity. Timing and preparedness are key. Recognise when your body is reacting to stress, pace yourself, and hit the brakes when you need. Often, once the show begins, the adrenaline high kicks in and you realise the anticipation was the worst part. I get this ALL THE TIME before going on rollercoasters. Dealing with Success and Failure So, in our society, there's this 'tall poppy syndrome' where being too awesome can sometimes make you a moving target. Talented performers might hide their skills (particularly when young) for fear of ridicule. Unlike sports champs, who are encouraged to be confident from a young age, performers often have to downplay their talents. Musicians face constant criticism, which can be tough, especially for singers whose instrument is their voice—an intrinsic part of them. Performance anxiety tends to sneak up when you least expect it, usually bringing along a baggage of negative thoughts. You might feel more pressure performing for a small, critical audience than for a large, supportive one. Many of these pressures stem from past experiences and our overactive imagination. We tend to remember our worst performances vividly, while forgetting our successes. And even after a successful performance, self-doubt can sneak in, whispering and building pressure to keep up that level of greatness. Composer Leonard Bernstein struggled with a creative block after the success of West Side Story, fearing he couldn't reach those heights again. Why are we so hard on ourselves? It's because we live in a critical society that expects success but does not always give praise. We all fall short of our own standards at times. This might be because we set unrealistic goals for ourselves. Failing hurts, especially if we tie our worth to the applause meter. A lukewarm review or less enthusiastic clapping can feel like personal failure. But hey, perfection is overrated. A few slip-ups won't bring the curtain down, so let's not waste energy worrying ourselves into mishaps. Remember, everyone experiences fear and anxiety. It's part of being human and a performer. TO BE CONTINUED... Part 3 - Unleashing Your Inner Genius - A Crash Course

Hey there fabulous readers! Let's dive into a topic that close to our hearts —performing! It's like a magical portal to express our deepest emotions and wildest dreams. Yet as we grow older, we often become embarrassed to show this side of ourselves. But remember, don’t be afraid of this vulnerability. It's what makes your performance genuine! Stepping onto the stage can feel like entering a lion's den wearing a tutu. We fret about our imperfections, lack of prep, and how we'll be judged. Negative thoughts can swarm our brains and make us feel isolated. Sometimes, we may imagine criticism where there isn't any. And even if there is, wouldn't it be better to perform for ourselves and those who appreciate us, rather than focusing on the few who might not? We can flip these jitters on their head and use them to supercharge our performance! When we ride the adrenaline wave like a pro, we can transform our show from meh to mind-blowing. I have gone ahead and read 'Confident Music Performance: Fix the Fear of Facing an Audience' by Ruth Bonetti, so you don't have to! I'll write a blog post for each chapter. Since we all have our own unique musical journey, the author offers a bunch of tips and suggestions to support you—whether you need a physical, mental, emotional, or spiritual boost. Stage Fright: The Big Bad Wolf Let’s tackle the granddaddy of fears—stage fright. We've all been there: hands shaking like a leaf, mouth as dry as the Sahara, mind going blank. You might be thinking, "Seriously, brain? We rehearsed this just this morning!" Stage fright doesn’t play favourites; it can strike anyone, anytime. It's not a glitch or disorder, just your body's way of saying, "Hey, pressure's on!" Even legends like Pavarotti and Streisand have danced with this jittery monster. I remember recently at a QPAC concert, Audra McDonald shared a story about messing up and having to re-do a Sondheim song, while in front of Sondheim himself! And who can forget that Glee episode where Rachel Berry, the perfection queen, choked during her NYADA audition? It happens to the best of us. Personally, I get major stage fright when I spot the audience, especially if they're strangers; with no spotlight to shield me from their gaze. Suddenly, a song I've sung a zillion times feels like climbing Mount Everest. I've left auditions feeling like a shaky chihuahua, questioning my own abilities. And when learning a new song, I have to remind myself (and my students) that we're not competing with auto-tuned polished recordings; real-life performances are raw and real, and that's what makes them special. Remember, feeling nervous doesn't mean you lack talent. A bit of pre-show jitters is natural - it means you care! Many of us treat stage fright like a forbidden secret, thinking we're the only ones battling it. Trust me, you're not alone. The Reward of Performing So, why do we continue to perform despite the fear? Because the thrill of overcoming our fears and accomplishing something amazing is addictive. It adds a spark to life and breaks the monotony that other jobs may bring. There's nothing quite like the rush of holding an audience in your palm, making them smile, and sharing a piece of your soul with them. The most exciting moments are those performances where everything flows smoothly, and you can feel the crowd's energy pulsating. Reaching out to complete strangers with your music or acting and seeing their reaction is an indescribable experience. Remember, every time you take the stage, you have the opportunity to create something beautiful and connect with others. Embrace the fear, ride that wave, and let your talent sparkle like a disco ball. You've got this! TO BE CONTINUED... Part 2: Symptoms of Fear and Why We Feel Like Scaredy-Cats

Title: Scotland Road Presented By: Mercury Theatre Wynnum Genre: Drama/Mystery Synopsis: In the last decade of the twentieth century, a young woman in nineteenth-century clothing is found floating on an iceberg in the middle of the North Atlantic Ocean. When rescued, she utters only one word: Titanic. The woman, named Winifred, is taken to an isolated spot on the coast of Maine where an expert on the sinking of the liner, a mysterious man named John, has arranged to interrogate her for six days. His goal: to crack her story, compel her to admit she’s a fraud, and uncover her true identity. His one clue: her enigmatic references to an unknown place called ‘Scotland Road.’ As we delve deeper into the mystery, the lines between truth and deception blur, and we discover the Titanic still holds some secrets. Audition Dates: Monday 29 July and Tuesday 30 July 2024 Audition Time: 7:30 PM - 9:30 PM Audition Location and Address: Manly-Lota RSL Hall, 184 Melville Terrace, Manly Audition Requirements: Pre-registration required Cold reading from the script Optional monologue preparation Bring a completed Audition Registration Form and a colour headshot Available Roles: John (Male, age: 30+) Woman (Female, age: 20 to 30) Halbrech (Female, age: 30 to 50) Ms Kittle (Female, age: 50+; involves working in a wheelchair) Kaspar and Dane (Non-speaking roles, any age or sex; integral to the story and also function as backstage crew) Audition Registration: Email mercurywynnum@gmail.com with your name, contact number, the role(s) you are interested in, and preferred audition date by Saturday, 27 July. Audition Pack: Download Here Performance Dates: Friday 1 November 2024 Saturday 2 November 2024 Sunday 3 November 2024 Friday 8 November 2024 Saturday 9 November 2024 Friday 15 November 2024 Saturday 16 November 2024 Sunday 17 November 2024 Performance Times: Evening performances at 7:30 PM; Sunday matinees at 2:00 PM Performance Location: Manly-Lota RSL Hall, 184 Melville Terrace, Manly Rehearsal Dates: August - October 2024 Rehearsal Times: Mondays and Thursdays, 7:00 PM - 10:00 PM Crew: Director: Steve Pearton President: Rosemary Thwaites Production Website: Mercury Theatre Wynnum Auditions Other Information: Membership required for insurance purposes ($10.00 per calendar year)

Title: Mary Poppins Presented By: Queensland Musical Theatre Genre: Musical Theatre Synopsis: Join Mary Poppins, the extraordinary nanny, as she brings whimsy and magic into the lives of the Banks family with the help of her friend Bert. Audition Dates and Times: Saturday, 13 July 2024: 10:00 am – 5:00 pm Sunday, 14 July 2024: 1:00 pm – 6:00 pm Call-backs: Monday, 15 July commencing at 7:00pm at Queen Alexandra Home – by invitation only Audition Locations and Addresses: Saturday: Queen Alexandra Home, 347 Old Cleveland Road, Coorparoo Sunday: Twelfth Night Theatre, 4 Cintra Road, Bowen Hills Audition Self-Tape: If you are unable to attend to the live auditions, the production team will accept video submissions up until 5 p.m. Sunday 14 July 2024. Audition Requirements: Singing Audition: Prepare two song excerpts from Musical Theatre in the style of the show. Songs from "Mary Poppins" are acceptable as one of your excerpts only. 32 bars of each song (approximately 1 minute). Please bring backing tracks for your audition on a device that can be plugged into a speaker (no CDs or USB sticks please) OR sheet music (with clearly marked cuts) for the audition pianist. A speaker and auxiliary cable will be available. Acting Audition: Scripts provided at venue; cold readings may be requested. Dance Audition: Sunday, 14 July (specific groups and times): Group 1: 9:00 am – 10:00 am (Children aged 6-15) Group 2: 10:00 am – 11:00 am (Musical Theatre performers with limited dance experience) Group 3: 11:00 am – 11:30 am (Mary and Bert auditionees not doing tap audition) Group 4: 12:00 pm – 1:00 pm (Experienced dancers) Group 5: 1:00 pm – 2:00 pm (Tap dancers) Audition Registration: Complete the audition form online at Mary Poppins Audition Form Audition Pack: Download the audition pack here Performance Dates: 18 October – 3 November 2024 Performance Location: Twelfth Night Theatre, 4 Cintra Road, Bowen Hills Rehearsal Dates: Commencing Wednesday, 17 July 2024 Rehearsal Times: Mondays & Wednesdays: 7:00 pm – 10:00 pm Sundays: 1:00 pm – 5:00 pm (full-day rehearsals on 13 & 20 October) Available Roles: Mary Poppins: Gender: Female Stage Age: 25+ Vocal Range: C6 to Gb3 Description: Extraordinary and neat, Mary Poppins is described as practically perfect in every way. She is both charming and a bit mysterious, with a mezzo-soprano voice that requires strong top notes. Precision in singing and diction is crucial, and she must be able to move well. Bert: Gender: Male Stage Age: 30-35 Vocal Range: F#4 to B2 Description: Bert is the narrator of the story and a close friend of Mary Poppins. He is versatile, with occupations ranging from hurdy-gurdy player to chimney sweep. Bert has a charming Cockney accent and is known as a song-and-dance man. He requires a baritone voice and should be able to speak-sing as necessary. George Banks: Gender: Male Stage Age: 40-45 Vocal Range: Eb4 to Bb2 Description: George Banks is the father of Jane and Michael Banks and a dedicated banker. He values order and precision in his life but hides a sensitive soul beneath his strict demeanour. George is a baritone and may speak-sing as required. Winifred Banks: Gender: Female Stage Age: 30-35 Vocal Range: D5 to A3 Description: Winifred is George's wife and the mother of Jane and Michael. A former actress, she is warm-hearted yet often distracted by the demands of her husband's expectations. Winifred requires great warmth and simplicity in her vocal tone. Jane Banks: Gender: Female Stage Age: 11-13 Vocal Range: F#5 to A3 Description: Jane is the high-spirited daughter of George and Winifred Banks. Bright and precocious, she can be wilful but has a good heart. Her voice should reflect her spirited nature. Michael Banks: Gender: Male Stage Age: 9-10 Vocal Range: E5 to A3 Description: Michael is the mischievous and adorable son of George and Winifred. He idolises his father and tries to emulate him. Michael's voice should capture his youthful enthusiasm and cheekiness. Mrs. Brill: Gender: Female Stage Age: 40+ Vocal Range: D#5 to F#3 Description: The housekeeper and cook for the Banks family. Overworked and harassed, she often complains about the house being understaffed. Despite her intimidating exterior, she has warmth underneath. Robertson Ay: Gender: Male Stage Age: 20+ Vocal Range: G#4 to F3 Description: The houseboy to the Banks family. Lazy, sleepy, and grumbling, he believes himself to be useless. He doesn't sing much but has a surprise solo in "Spoonful." Bank Chairman: Gender: Male Stage Age: 50+ Vocal Range: D4 to C3 Description: The head of the bank where Mr. Banks is employed. He is portrayed as an Edwardian stuffed-shirt and can speak or sing his lines as necessary. Bird Woman Gender: Female Stage Age: 50+ Vocal Range: C5 to Gb3 Description: Covered in shawls and carrying bags of crumbs for birds. She sells crumbs to passersby, singing "Feed the Birds." Her voice has a gruff, folksy quality reflecting the hardness of her life. Mrs. Corry Gender: Female Stage Age: 40+ Vocal Range: C5 to D4 Description: Owns a magical gingerbread shop. A mysterious elderly woman with a Caribbean (or exotic) accent. Miss Andrew Gender: Female Stage Age: 40+ Vocal Range: F5 to Gb3 Description: George Banks's overbearing former nanny. She uses brimstone and treacle to discipline children. A soprano with an alto belt, her voice has a heavy quality with range. Supporting Roles: Katie Nanna - Jane and Michael's overwhelmed nanny at the beginning of the show. Policeman - A neighbourhood fixture who monitors households on his beat. Miss Lark - The haughty next-door neighbour of the Banks family who dotes on her dog. Admiral Boom - A retired Royal Navy man and neighbour of the Banks family, known for his loud voice and Navy jargon. Park Keeper - Uniformed and strict about park regulations, often seen enforcing rules. Neleus - The statue of a young boy in the park, separated from his father and eager to befriend Jane and Michael. Queen Victoria - A statue in the park. Miss Smythe - The Bank Chairman's humourless secretary. Von Hussler - A businessman seeking a loan from the bank for a shady deal, speaks with a German accent. John Northbrook - An honest businessman seeking a loan to build a factory for his community, speaks with a Northern English accent. Ensemble and Children's Ensemble - Annie, Fannie, Valentine, Teddy Bear, Mr. Punch, Doll, Chimney Sweeps, Statues, Toys, Park-goers. Creative Team: Director: Deian Ping Musical Director: Nicky Griffith Choreographer: Julianne Burke Other information: Blue Card required for adult cast members Crew positions available; details in audition pack Production fee payable; details provided upon casting confirmation The minimum age for performers is 6 years old. Production Website: Queensland Musical Theatre

Prepare to be captivated by the enchanting world of Shrek The Musical, presented by Savoyards Musical Comedy Society! This production will immerse you in the whimsical fairy tale, brought to life with exceptional artistry and detail. Under the dedicated direction of David Harrison, this show doesn't just mimic the essence and hilarity of the beloved DreamWorks film, it adds its own theatrical charm! Once upon a time, there lived a grumpy green ogre... Add in a chatty Donkey, a spirited princess, a short-tempered villain, a cookie with an attitude, and a bunch of other misfit fairy tale characters, and you've got a recipe for chaos that requires a true hero. Fortunately, one rises to the occasion... and his name is Shrek. From the moment Nathaniel Currie bursts onto the stage as Shrek, he commands attention. His accent is impeccable, and even with the elaborate makeup and costume, his vocal prowess and energy shine through. His interactions with the other characters feels genuine, making his character's evolution both believable and heartfelt. His rendition of "Who I'd Be" highlights his exceptional vocal range and projection. The Act 1 finale, with the trio harmonising under the moonlight, was a personal highlight that beautifully captured the show's emotional core. Witnessing Shrek's more vulnerable side in Act 2, particularly in "When Words Fail", peels back the layers (pun totally intended) of his character while maintaining a delightful comedic element. When Kate Retzki took to the stage (on a beautifully-crafted tower) as Princess Fiona, the crowd burst into applause. During the iconic performance of "I Know It's Today," Darci Allen as Young Fiona delivered a crystal-clear performance, while Jamie Burstow as Teen Fiona was exceptional. And when all three Fionas belted out "It won't be long now I guarantee", I sprouted goosebumps all over. Kate Retzki's portrayal of Fiona is simply enchanting, combining the poise of a princess with the feistiness of the beloved film character, plus adding her own goofiness to the role. Her beautiful vocals and comedic timing bring the character to life. The performance of “Morning Person,” featuring tap-dancing rats and dazzling choreography, is basically a Broadway show in itself. And her duet with Shrek, “I Think I Got You Beat,” is a comedic gem, proving that true love can be found through burping contests and trauma bonding. Even when faced with a costume mishap, Retzki didn't miss a beat, incorporating the glitch into the scene. Her improvisation and professionalism shone through, solidifying her as the perfect choice for Princess Fiona. Oscar Lowe as Donkey is a bundle of energy and charisma. His funky solo “Don’t Let Me Go” is a burst of musical sunshine, brimming with infectious enthusiasm and compelling character portrayal. Not to mention, how well he handles the challenging vocal and physical demands while adorned in all that makeup and fur! His dynamic interactions with Shrek injects his signature zaniness into the story. And his jam session with the three blind mice as he urges Shrek to “Make a Move”, is incredibly funky and entertaining, enhanced by Julianne Burke's inventive choreography. Portraying Lord Farquaad, Josh Moore steals every scene with finesse, commanding both the role and the stage. His performance, executed entirely on his knees, is a physical feat that keeps the audience roaring with laughter. Through a combination of showmanship and impressive untiring vocals, he excels in numbers “What's Up Duloc" and "The Ballad of Lord Farquaad,” cementing his status as a crowd favourite. His absurdly comical segues add to the hilarity; a testament to the director’s attention to comedic nuances. The ensemble of fairy tale creatures is vibrant and full of life, with each member bringing their character to the forefront during numbers “Story of My Life” and “Freak Flag.” Their strong vocal performances are a tribute to Nicky Griffith’s musical direction, complemented by the outstanding orchestra. Special mention goes to Nick Ferguson’s Pinocchio, whose comedic relief and nose-growing illusion are delightful, and Kat Suschinsky’s Gingy, whose voice acting in the iconic 'Muffin Man' scene had me in tears of laughter. Joanna Nash's portrayal of Dragon is a force to be reckoned with, her striking red gown, commanding presence, and powerhouse vocals bringing a fiery intensity to the stage. The backup singers, portraying knights in pillories during "Forever", and the skeleton dancers during "This Is How A Dream Comes True" is like a whimsical scene straight out of a Monty Python sketch! The dragon puppet, a marvel of design by the props team led by Stephanie Bateman, adds a spectacular visual element, complete with smoke and pyrotechnics. Since there are no photos to capture the magic of the dragon, make sure to secure a seat and witness it live! The visually stunning Iona Performing Arts Centre serves as the perfect playground for this fantastical adventure. The versatile set pieces, designed as triangular prisms, faciliate smooth transitions between scenes, transporting us from swamp to wilderness to castle in seconds.  Notable features like the vibrant green curtain, lush scenic design, mesmerising lighting, and captivating projections enrich the narrative as our beloved characters traverse Wynnum and beyond. Julianne Burke's choreography is full of energy, particularly evident in "What's Up Duloc," where the Duloc dancers radiate joy with plastered (definitely-not-forced) smiles. Kim Heslewood's wonderful costume creations, along with the dedicated team handling wigs, makeup, hair, and special effects, work together to craft an enchanting atmosphere that immerses the audience in Shrek's magical realm. The director and his talented team and cast have crafted a show that not only entertains but also touches the heart; a delightful mix of family-friendly fun and subtle adult humour, just like the film. Despite the show’s long duration, the audience remained engaged, laughing and cheering throughout. The nostalgic grand finale, "I'm a Believer" had the crowd grooving in their seats, itching to join in on lively fun. While a late night may not be ideal for younger viewers, an afternoon performance is a must-see for families and early bedtime enthusiasts alike. So, grab your tickets, bring the whole family, and get ready for a magical journey that'll lift your spirits and maybe even squeeze out a tear or two (of laughter, of course)! Tickets Available Here

My Fair Lady holds a special place in the history of Queensland Musical Theatre, being the first show ever staged by the company 40 years ago. Deian Ping, the original Eliza Doolittle, now leads as the director of this sparkling revival. This heartfelt nod to the company's history is rich in nostalgia, with two of the original costumes making a reappearance on our new, dazzling Eliza. One thing is clear—My Fair Lady continues to captivate audiences with its timeless story, unforgettable characters, and enduring charm that transcends generations. This classic musical from 1956 was cooked up by the lyrical genius Alan Jay Lerner and maestro Frederick Loewe. Set in 1912, it follows Eliza Doolittle, a Cockney flower girl, who takes phonetics lessons from snooty Professor Henry Higgins to refine her speech and manners. As Higgins attempts to transform her into a proper lady, his cynicism and difficulty understanding women give way to an unexpected attachment to Eliza. Kirra Lang as Eliza Doolittle is nothing short of outstanding. From her thick Cockney accent to her refined upper-class speech, Lang's transformation is mesmerising. As Higgins describes, she is a truly 'captivating creature,' especially in that blinged-out ballgown. Lang embodies this role as if she were born for it; her Cockney accent is so authentically thick at the beginning that I almost needed a translator. In "Just You Wait," Lang's ability to maintain her rough accent while delivering flawless vocals is seriously impressive. Her emotional range is also off the charts—from gritty and grating, to desperate and distraught, to fierce and self-assured. The Eliza-Higgins showdowns are like watching a tennis match, intense yet oh-so natural. The scenes of Higgins schooling Eliza are pure gold, culminating with "The Rain in Spain" as Lang's operatic pipes finally get their moment to shine and Higgins cracks a smile for once. Lang's solos "Without You" and "Show Me" exude strength and independence, embodying a modern feminist spirit. And of course, she sings "I Could Have Danced All Night" with a dreamy, classical, and just plain beautiful tone. James Lennox portrays Henry Higgins with a perfectly disdainful 'sourpuss' demeanour from start to finish. His delivery of each line is so precise and purposeful, that I'd bet my bottom dollar he was an actual haughty English gent. His portrayal carries a charming comedic flair that continuously garners laughter, helping the audience to overlook his less savoury traits. "I'm an Ordinary Man" and "A Hymn to Him" are vocal gems, full of scorn and sass, delivered with such finesse that you almost forget the misogyny. His constant tailcoat flourish during "You Did It," as he discusses Eliza as if she were a doll, is a delightful character choice. Lennox's final solo, "I've Grown Accustomed to Her Face," is the cherry on top of his beautiful vocal sundae. David McLaughlin’s Colonel Pickering is the epitome of a perfect gentleman, providing a stark contrast to Higgins' brusqueness. Lachlan Dodd as Freddy is both charming and endearing; his rendition of "On the Street Where You Live" (my favourite number) serenades the audience with boyish enthusiasm and magnetic stage presence. Jordan Ross as Alfred P. Doolittle brings robust energy to his role. His performance of "With a Little Bit of Luck" is a crowd favourite, oozing charisma and vocal prowess. All his character choices—pacing of dialogue, rough accent, staggering movement, and even grunting— adds to the portrayal of the unsightly yet likeable rogue. Reece Ratcliffe makes a memorable impact in his short lead performance as Zolton and shines throughout his multiple ensemble tracks. Fiona Buchanan as Mrs. Higgins brings sharp wit to her character, garnering laughter and applause with her well-delivered lines. The large ensemble cast contributes significantly to the show's dynamic energy and entertainment value. The quartet and Eliza crooning "Wouldn’t It Be Loverly" is a vocal feast with stunning harmonies, a true testament to the musical direction by Julie Whiting. The lighting design during this number adds to the whimsy, including a delightful dance break thrown in with choreography by Bec Swain. Skye Schultz and Jackson Muir, as Harry and Jamie respectively, provide comedic relief in all their Covent Garden scenes with gorgeous harmonious singing and lively performances. "Get Me to the Church on Time" is a vibrant ensemble number, featuring plenty of inventive choreography and a high-energy performance from the entire cast. The "Ascot Gavotte" scene is perfection, with its precise lack of enthusiasm and stunning costumes. Eliza’s awkward attempt at high society behaviour while wearing a dress she can't move in is both hilarious and endearing with Lang's blend of posh and cheek. The elegant waltz choreography at the ball is a sight to behold, with full skirts and lush music filling the theatre. The guests entering the ball through the audience is a nice touch. Despite a few oddly placed costumes, the focus remains on Eliza's transformation. The orchestra, under the baton of Julie Whiting, delivers an extraordinary musical accompaniment, captivating the audience with enchanting melodies. The blocking is occasionally cluttered and awkward, but that's understandable with such a large cast. While the dance numbers sometimes lacked energy and performers were often looking down—likely an acting choice to reflect societal demureness—any fatigue can also be attributed to the length of the show. Act 1 runs nearly two hours, so I applaud the entire team for their concentration and remind the audience to be prepared with plenty of refreshments and snacks. I knew this show was a marathon, not a sprint, so as Freddy wisely says, "let the time go by…" Regarding the production elements, the set design features versatile white arches that seamlessly transform into various settings like Covent Garden, Higgins' study, and the grand ballroom. The staging of Higgins' study, with its intricate details and elegant furnishings, is particularly noteworthy. The costumes transported the audience back to Edwardian London, with Eliza’s six stunning costumes standing out as visual highlights. Each costume change signified her transformation, culminating in the glittering ball gown that left the audience in awe. Every aspect of the production reflects the hard work and creativity poured into bringing My Fair Lady to life once again. Queensland Musical Theatre has produced a delightful production filled with heart, humour, and impressive performances. With two performances remaining, visit the Twelfth Night Theatre and let the cast transport you to a bygone era of elegance, wit, and musical brilliance. Tickets Available Here

Nativity Lobsters for Christmas Actually Presented By: The Little Red Company Genre: Festive Musical Theatre Synopsis: Join the cast of Christmas Actually in the iconic role of Tenor 2, affectionately known as the Nativity Lobster. This festive hit by The Little Red Company combines humour, audience interaction, and pop tenor vocals in a lively and unscripted show. Audition Self-Tape Due: Applications close Friday, 21 June 2024 Audition Requirements: Professional CV Headshot Self-tape: Singing an audition cut of "White Christmas" by Otis Redding Note: The demo track has a 2 Bar intro instead of the 4 bars indicated on the score. Applicants must have a pop tenor voice within the vocal range of B♭2 – A4. Available Roles: We are casting one Queensland-based lobster and one Victoria-based lobster. We invite applications from male-identifying performers aged 20-35 with pop tenor voices of all cultural backgrounds and access requirements.  Successful applicants will be excellent singers and performers no taller than 178 cm with a ‘primary school’ playing age (a pivotal plot point in an otherwise completely unscripted show!). We are looking for youthful, comical performers with a passion for backing vocals who aren’t afraid to parade around in a papier-maché lobster head during our confetti-filled finale! Audition Registration: Submit your application here Audition Pack: Download audition materials here Performance Dates: Queensland Dates: Thursday, 28 November - Sunday, 22 December 2024 Victoria Dates: Thursday, 12 December - Sunday, 22 December 2024 Rehearsal Dates: Wednesday, 13 November - Thursday, 14 November 2024 Warnings: The role involves performing in a papier-maché lobster head during the confetti-filled finale. Applicants should be comfortable with this aspect of the performance. Other Information: This is a paid role following standard LPA fees. The production values showmanship, cheekiness, and lively interaction with the audience and band.

Title: Mephisto & Pheles Presented By: Centenary Theatre Group Genre: Comedy with music Synopsis: Three devils, two male and one female, form a team of Hell’s trouble-shooters using modern marketing methods. The comedy revolves around their interactions and schemes, intertwined with music. Audition Date: Saturday, 06 July 2024 Audition Time: 1:00 PM Audition Location and Address: Centenary Theatre, Halsbury St & Community Centre, Queenscroft St, Chelmer QLD Audition Requirements: Cold reads from the script provided. Available Roles: Mephisto: A devil aspiring to become a poet. Pheles: Mephisto's twin brother, a compulsive computer games player. The Boss: Head of Hell’s public relations department (transforms into Faust). The Secretary: The Boss’ submissive PA (transforms into Siebel). Faust: An impoverished 16th-century would-be magician, ambitious but struggling with modern technology and political correctness. Catherine Siebel: Innocent young girl in service to Faust, object of Mephisto’s desires. Brigitte: Former courtesan turned probationary she-devil (transforms into Meg). Meg: A lesbian sent to Faust to challenge him. Performance Dates: Season Run: 14 September – 06 October 2024 Fridays/Saturdays: 14, 20, 21, 27 September; 4, 5 October at 7:30 PM Saturday Matinee: 28 September at 2:00 PM Sunday Matinees: 22, 29 September; 06 October at 2:00 PM Performance Location: Chelmer Community Hall, Centenary Theatre, Halsbury St & Community Centre, Queenscroft St, Chelmer QLD Production Website: Centenary Theatre Group