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A Disney musical?! Well get ready, because I have plenty to say about this one! I had the privilege of witnessing The Hunchback of Notre Dame come to life on stage by the talented Beenleigh Theatre Group. This production truly does justice to the grandeur of Victor Hugo’s novel and the emotional depth of the Disney film, combining a heart-wrenching narrative with breathtaking music and outstanding performances. Featuring the film’s Academy Award-nominated score and new songs by the legendary Alan Menken and Stephen Schwartz, this is a must-see for theatre enthusiasts and Disney fans alike. A Grand and Gothic Tale: From the moment the bells of Notre Dame ring, you are transported to fifteenth-century Paris, where Quasimodo, the deformed bell-ringer, watches as Paris celebrates the Feast of Fools. Held captive by his sinister caretaker, the archdeacon Dom Claude Frollo, Quasimodo escapes for the day to join the lively crowd, only to be treated harshly by everyone except the kind-hearted Esmeralda. The handsome Captain Phoebus and Frollo are also entranced by her free spirit and beauty. As the three compete for her attention, Frollo sets out on a mission to eliminate the gypsies – and it falls to Quasimodo to save them all. Performances: The cast of lead actors absolutely shines with their stellar performances. Michael Ware, as Quasimodo, doesn't just portray the endearing character - he embodies him with a deep sense of heart and soul. His rendition of the much-loved "Out There" is both heartfelt and technically impressive; filled with genuine emotion and remarkable belting capabilities. Quasimodo is both physically and vocally demanding, yet Ware delivers with a steady and powerful sound. His voice choice for Quasimodo is well-suited, completely distinguishing the character from the actor. Quasimodo’s second solo, "Heaven’s Light," is short and sweet, tugging on the heartstrings with its tender melody and poignant lyrics. The lighting is perfect, and Ware's vocal sustains are incredibly impressive. Reagan Warner’s portrayal of Dom Claude Frollo is spectacularly chilling. Known for his voice acting, Warner brings a menacing presence to the stage with his deep tone, intense expressions, and a piercing gaze that truly embodies the formidable presence of the archdeacon. The musical begins with the powerful and haunting "The Bells of Notre Dame," that provides insight into Frollo’s backstory — a detail omitted from the Disney film but essential to understanding his complex character. Nykita O’Keeffe as Esmeralda is a stunning leading lady who captivates the audience with her vocal ability and spirited portrayal. Her performance is both strong and compassionate, perfectly balancing the character’s resilience and vulnerability. Her stage entrance with "Rhythm of the Tambourine" is entracing, and her rendition of "God Help the Outcasts" is profoundly moving, enhanced by an ethereal reverb effect and the choir’s haunting harmonies that transports the audience inside the grand cathedral. The added scene that precedes “God Help the Outcasts” provides an intimate and poignant moment between Frollo and Esmeralda that enhances the emotional impact of the song. Adam Goodall as Captain Phoebus exudes charm and charisma. His confident and engaging performance, along with his strong voice, is perfectly befitting a Disney lead. Harrison Port is appropriately cast as Clopin Trouillefou, the jester of the gypsies. His main number, "Topsy Turvy," is upbeat and fun, capturing the festive spirit of the Feast of Fools and engaging the audience with lively choreography and infectious energy. Aidan Cobb as Frederic Charlus impresses with his powerful voice, conveying the soldier’s anguish poignantly. Rhea Basha as Florika delivers a memorable performance, singing with the warmth and voice of an angel that adds a rich, ethereal layer to the beginning and end of the production. The physicality and design of the gargoyle and statue characters adds a layer of fantastical realism, with Hannah Collins and Alana Ellison's portrayal of the two gargoyles eliciting audible gasps from the audience when they emerged. Music: Under the musical direction of Jade Enright, the choir serves as the heart of this production. Described as the ‘spirit’ of Notre Dame, their vocal performances are stunning, bringing the cathedral to life with their constant presence and powerful harmonies. During the opening number, "The Bells of Notre Dame," they set the stage ablaze with their collective vocal power. The Act 1 finale, “Esmeralda,” and Latin chants in the Entr’acte resonate powerfully, adding to the overall grandeur of the score that would not be complete without the choir. The traditional and new musical numbers truly shine in this production. "Top of the World," a beautiful addition to the score, had me believing that Esmeralda and Quasimodo were truly overlooking Paris. "Hellfire," performed by Warner, is a standout moment, complete with haze and haunting harmonies - 24 voices strong - to depict Frollo’s inner turmoil flawlessly. Warner completely embodies the character to deliver this incredible villainous song, as if Frollo has leapt right off the screen and onto the stage. The trio’s rendition of "In a Place of Miracles" is another goosebump-inducing moment, showcasing the beautiful vocal chemistry between the leads. Nykita’s rendition of "Someday" is the emotional pinnacle of the show, stirring tears and eliciting audible sniffles from the audience. Her performance, coupled with Goodall, encapsulates the epitome of Disney magic. Quasimodo’s poignant solo, "Made of Stone," in Act 2, is brimming with anguish as he grapples with self-torment and revelation. Ware's emotional depth and vocal range are on full display, making this one of the most powerful moments of the production. Attention to Detail: Special recognition must be given to Glen Heriot, whose dedication extends beyond his vocal talents in the choir, playing a pivotal role in constructing the astounding set. The set design by Chapman, brought to life by Heriot and James Thomson, is a character in its own right. The intricate wooden structure, stained glass windows, and grand double doors create an authentic cathedral atmosphere, while the bell ropes and towering heights for Quasimodo to climb add dynamic layers to the visual storytelling. Chapman’s meticulous direction shines through in the intricate details woven throughout the production. Chapman emphasises the art of storytelling, relying on the actors’ performances and the audience's imagination to craft vivid scenes from the film. The use of lighting, especially during "Hellfire" and "Heaven’s Light," creates visually stunning moments that complement the emotional depth of the songs. The costumes, particularly those of the gypsies and the gargoyles, deserve special mention for their intricate designs and vibrant colours, enhancing the visual splendour of the show. The choreography during "The Tavern Song" is dynamic and engaging, perfectly complementing the lively score. Although some accents occasionally slip into an Australian twang, this minor inconsistency does not detract from the overall experience. The ensemble’s narration aids in maintaining the narrative’s momentum, and despite some minor issues with audibility, the context and the performers' articulation and projection (notably the men) ensure the story remains clear. Prepare to be transported to the heart of Notre Dame and experience a story of love, longing, and courage that will resonate deeply with audiences of all ages. The cast, choir, and crew have crafted a profoundly moving and visually beautiful experience with this production. Tickets are available now for this limited run, and I highly recommend securing yours soon! Now playing at Crete Street Theatre until 22 June 2024. Secure your Tickets here

A Journey Backward Through Friendship and Ambition Music and Lyrics by: Stephen Sondheim Book by: George Furth Directed by: Tim Hill Venue: Ad Astra Theatre, Fortitude Valley Experiencing Stephen Sondheim's Merrily We Roll Along for the first time at Ad Astra was a revelation, as they delivered a high-quality theatrical experience with a minimal yet impactful approach. The musical tells its story in reverse, offering a unique perspective on friendship, ambition, and the passage of time as we journey from 1976 back to 1957. Plot Summary The story begins in 1976 at a party hosted by successful film producer Franklin Shepard, as he reflects on his life. His old friend Mary Flynn, now a struggling critic, calls him out on his life choices. As we rewind through time, we witness key moments in Franklin's life—from his fallout with lyricist and best friend Charley Kringas in 1973, to his rocky marriage with Broadway star Gussie Carnegie in 1968, and his early days of friendship, love, and artistic dreams with Charley, Mary, and Beth in the '60s. The journey concludes (or rather, begins) in 1957, showing the trio full of hope and ideas on a rooftop in NYC. Performance and Direction Tim Hill's direction is remarkable, successfully condensing a big Broadway musical into an intimate setting with only eight actors and a small band of three musicians. The cast (aside from the three leads) shift between different roles effortlessly, showcasing their versatility and the director's adept use of limited space. Stephen Hirst as Franklin Shepard delivers a convincing portrayal of a man whose ambition leads him to sacrifice personal relationships. Hirst embodies the quintessential egotistical theatre figure, complete with an excellent New York accent and undeniable charisma. His portrayal of Franklin's evolution is compelling, making the character's journey both believable and maddening. Alex Watson as Charley Kringas is exceptional; his performance a perfect blend of comedic flair and emotional depth as he captures Charley’s frustration and loyalty in equal measure. Interactions between Watson and Hirst underscores the complex dynamic of dreamer versus realist, ambition versus passion, particularly in the number "Franklin Shepard Inc." Watson's energy and incredibly quick articulation transform this frenzied monologue into a gripping highlight of the show. Natasha Veselinovic as Mary Flynn delivers a moving performance, her character's evolution (or rather, de-evolution) from shattered adult to hopeful young woman providing a stark emotional contrast. Her solo "Like It Was" is achingly beautiful, capturing the bittersweet nostalgia at the heart of the musical. Veselinovic's flawless accent and outstanding vocals leave a lasting impact, although the chemistry between Mary and the two leading men feels a bit lacking until the final scene. The supporting cast is also fantastic, with Jordan Twigg as Gussie Carnegie stealing the show in my eyes. Her transformation from heartbroken wife to manipulative figure to ambitious starlet is spellbinding. The opening number of Act 2 is a mesmerising showstopper, as Twigg embodies a Broadway diva as if she really were one. Heidi Enchelmaier as Beth Spencer, Franklin's first wife, brings touching vulnerability to her role. Her heart-wrenching performance of "Not a Day Goes By" in Act 1 contrasts enormously with her charming portrayal of an upbeat, naïve, supportive young wife in Act 2. I applaud her ability to keep her voice so steady and beautiful while tears stream down her face. Chelsea Burton showcases extraordinary characterisation with her magnetic stage presence. Whether portraying a young naïve Hollywood actress, a chirpy TV personality, or a stern middle-aged mother, Burton's performance is truly versatile. Chris Kellett as Joe Josephson exudes an old Hollywood charm that is simply irresistible. Liam O'Byrne, with his stunning voice and moments of comedic relief, seamlessly transitions between various roles, adding flair and cheer to each character. The ensemble numbers sweep you away with their precision and passion, immersing us in Sondheim's intricate world through layered vocals and dynamic choreography. From the brilliant opening numbers "Merrily We Roll Along" and "That Frank" to the powerful Act 1 finale "Now You Know," each moment leaves you in awe of the complexity and energy pouring from the stage. The trio "Old Friends" is a powerful reminder of the complexities of mixing business with friendship, showcasing rising tensions that resolve into a bittersweet harmony. "It's a Hit!" and "The Blob" are high-energy standouts, offering the ensemble ample opportunity to shine. Charley’s solo "Good Thing Going" is another emotional high point, performed with stunning sensitivity and clarity by Watson. The show-within-a-show number "Bobby and Jackie and Jack" is a fun, lively addition, while "Opening Doors" cleverly uses typewriters as instruments, highlighting the trio's youthful ambition and struggles of living in NYC. Technical Aspects Every technical aspect of the production is executed with innovative flair, from the use of the small space at Ad Astra to the meticulous attention to detail in set and costume design. The earthy tones of the '70s, the vibrant go-go dresses of the '60s, and the modest attire of the '50s all come to life before your eyes, transporting you seamlessly through different eras. The use of Polaroid pictures, progressively removed as the story winds back in time, adds a bittersweet visual representation of the narrative's regression. Musically, the small band led by Ben Murray performs Sondheim's intricate score with finesse. The absence of microphones - often a nuisance in recent productions I have seen - allows the actors to project naturally and engage more authentically with the audience. Themes and Impact "Merrily We Roll Along" explores the erosion of dreams and relationships over time, and how success and ambition can alter friendships and personal integrity. The audience has the chance to reflect on their own youthful idealism and the often-harsh reality of adulthood. It's a bittersweet reminder of the passage of time and the inevitability of change. The backward progression of the plot is initially disorienting but ultimately profound, revealing the characters’ earlier, more idealistic selves in stark contrast to their later, more jaded personas. Ad Astra's "Merrily We Roll Along" is a masterful production that manages to balance complexity and intimacy. The talented cast, under Tim Hill's direction, brings Sondheim's challenging score and intricate narrative to life with passion and devotion, proving that even the most complex narratives can be beautifully rendered on a small stage. It was a privilege to witness a boutique production that dove deep into character study and nuanced storytelling. I hope to witness more musicals from Ad Astra in the near future!

About the Play: "How The Other Half Loves" by Alan Ayckbourn is a comedic exploration of the tangled lives of three married couples. Frank and Fiona Foster, Bob and Teresa Phillips, and William and Mary Featherstone find themselves caught in a web of misunderstandings, lies, and mistaken identities. As their lives intertwine, hilarity ensues, with the audience often privy to more than the characters themselves. Audition Details: Date: Sunday, 16th June Time: 11:00 am sharp Location: Sunnybank Theatre, 14 Mains Rd, Sunnybank QLD 4109 Audition Format: Group auditions, cold reading from the script Character Breakdown: Frank Foster: Late 50s to early 60s. The boss of the company where all three men work. Often vague and somewhat dull. Fiona Foster: In her 40s. Elegant and involved in charity work. Revealed early on to be having an affair with Bob Phillips. Bob Phillips: In his 30s. A bit of a slob, selfish, and enjoys his affair with Fiona. Has a stormy relationship with Teresa. Teresa Phillips: In her 30s. Untidy, intense, and tired-looking. Her priorities do not include housework, and she has a stormy relationship with Bob. William Featherstone: In his 30s. A bit of a nerd, striving to make a good impression at work and overly tolerant. Mary Featherstone: In her 30s. Nervous, conscious of her husband's aspirations, and supportive despite challenging circumstances. Performance Season: 30th August to 14th September, 2024 Rehearsals: From 8th July, three times per week Audition Requirements: No audition piece required, Cold reading from the script Registration: Registration is required to audition. Complete the form via the audition register button on the website. Audition Pack: Download the audition pack here

AUDITION DETAILS: Date: Sunday, 9th June Time: 9:30 am to 11:00 am Location: Lavalla Centre, 58 Fernberg Road, Paddington Format: Group auditions with up to 10 people per slot AUDITION REQUIREMENTS – Ages 13 to 17: Prepare a 1–2-minute comedic monologue. Cold reads will also be performed on the day. Please wear comfortable clothing suitable for movement. REHEARSAL AND PERFORMANCE SEASON: Rehearsals: Tuesdays from 7:00 pm to 9:30 pm and Saturdays from 1:00 pm to 4:00 pm. Rehearsal Location: 58 Fernberg Road, Paddington (The Lavalla Centre) Drama Festival Locations and Dates: Toowoomba: 26th to 28th July Beenleigh: 2nd to 4th August Ipswich: 9th to 11th August Sunshine Coast: 16th to 18th August KSP: 23rd to 25th August SYNOPSIS: Two battling narrators attempt to cover the entirety of Greek mythology using audience participation, cross-dressing, and general theatrical insanity. Famous myths such as Pandora's Box, Jason and the Argonauts (the original Super Friends), and Hercules: Intern God jostle for space with obscure, weird myths such as the myth of Linus and the legend of the Argus. Culminating in a bizarre, musical dance-influenced version of The Iliad complete with a full-scale battle of little green army men, this play is wild, silly, and a complete blast for audiences of all ages. ROLES: Narrator 1, Narrator 2 (Multiple roles played by each cast member) Various roles including Cronos, Uranus, Rhea, Titans, Therapist, Zeus, Man, Woman, Pandora, Police Officer, Hercules, Orpheus, Atlanta, Jason, Castor, Pollux, Harpies, Sirens, Medea, Lonely single women, Zombies, Eurydice, Apollo, Charon, Hades, Furies, Paris, Aphrodite, Hera, Goddesses, Helen, Advisor, Menelaus, Trojan, Achilles, Hector, Greek, Odysseus, Actor 1, Actor 2 Registration: Register Here Contact Information: Website: www.artstheatre.com.au Email: info@artstheatre.com.au Phone: (07) 3369 2344 This promises to be a fun and dynamic production, offering young performers the chance to dive into the world of Greek mythology with humour and creativity.

Auditions for "An Actor's Nightmare" - Brisbane Drama Festival Circuit Presented by Brisbane Arts Theatre About the Production: Brisbane Arts Theatre is calling for auditions for their one-act entry, 'An Actor's Nightmare', for the Brisbane Drama Festival Circuit. Written by Christopher Durang, this short comic play follows the story of George Spelvin, an accountant who is mistaken for an actor's understudy and forced to perform in a play for which he does not know any of the lines. Audition Information: Date: Sunday, 9th June 2024 Time: 9:30 AM to 11:00 AM Location: Lavalla Centre, 58 Fernberg Road, Paddington Note: Auditions will be conducted in 45-minute slots, from 9:30 AM to 11:00 AM. Each slot will accommodate up to 10 individuals. Requirements: Age: 18+ Attire: Wear comfortable clothing suitable for movement. Prepare: A 1–2-minute comedic monologue. Cold Reads: Will be performed on the day. Availability: Must be available for all rehearsals and performances. Rehearsal and Performance Schedule: Rehearsals: Wednesdays 7 PM to 10 PM, Saturdays 1 PM to 4 PM. Rehearsal Location: Lavalla Centre, 58 Fernberg Road, Paddington. Drama Festival Locations: Toowoomba: 26th to 28th July Beenleigh: 2nd to 4th August Ipswich: 9th to 11th August KSP: 23rd to 25th August Membership and Registration: Membership: Performers must be financial members of the company. Memberships can be purchased online or by calling the office. Registration: Register for auditions here. Website: For more information, visit the Brisbane Arts Theatre website. Enquiries: For all enquiries, contact info@artstheatre.com.au or call (07) 3369 2344. Cast Requirements: George: Playing age 30-50 Meg: Playing age 30-50 Sarah: Playing age 25-45 Ellen: Playing age 25-45 Henry: Playing age 35-55 For more information and registration, please visit the Brisbane Arts Theatre website. For any enquiries, contact info@artstheatre.com.au or call (07) 3369 2344.

I recently had the pleasure of attending "Broadway Your Way" by VOX Theatre Arts at Nosferatu Distillery. It was a delightful and lively evening filled with laughter, impressive vocal performances, and creative character interpretations. Despite a few technical hiccups with the mics (common on any opening night), the cast handled it like pros, never letting it faze them. The theme of the show, "The Roles We'll Never Play," was brought to life with creativity and flair, giving local performers the chance to step into roles they might not typically be cast in. It was a truly memorable evening that highlighted the amazing amateur talent in our community. Antoni Torrisi's portrayal of William Shakespeare, alongside their cheeky entourage, kicked off the show with the eccentric Hard to Be the Bard. Lisa Alsop brought the house down with her performance of All I Care About is Love; surrounded by her fabulous burlesque girls as she commanded the stage with both her presence and vocal talent. Will Chen infused charm and wit into his renditions of Candy Store and Defying Gravity, putting his unique spin on these fan-favourite numbers. Michael Enright’s powerful vocals in Santa Fe were breathtaking, truly doing justice to this beloved number. Skye Shultz delivered a stirring performance as Rizzo in There Are Worse Things I Could Do, beautifully executing one of my most-loved musical theatre numbers. Rhys Schwarten's rendition of You'll Be Back was wonderfully unserious with their rich vocals and comical characterisation. Mark Mirhan's performance of Ado Annie's Can't Say No radiated energy and passion, even amidst tough mic challenges. Roselie Chase as Matilda in Quiet was a mesmerising interpretation that captured the innocence and depth of the young character. Clare Thompson’s solo as the gender-bent Chip in My Unfortunate Erection had everyone in stitches - she definitely has a knack for comedy! The playful and passionate duet Agony by Connie Acevedo Burckhardt and Emma Parkinson was a favourite, with the pair dressed in princess costumes to add a whimsical touch. The energy of Hello from Book of Mormon was infectious, with clever use of everyone’s own favourite books as props. James Hogan's take on Sally Bowles in Don't Tell Mama was a total crowd favourite - with exceptional ensemble work and dynamic choreography to support his portrayal of this famous character. Hannah McNamara and Eloise Newman’s duet Amazing from Muriel’s Wedding was an inspired addition - the volume issues were sorted out by then, so their voices blended stunningly with the music and each other. The group numbers provided moments of beautiful harmonies and energy, including the Jersey Boys medley and Morning Glow from Pippin. And I can’t forget the electric performance of Cell Block Tango, complete with fabulous costumes, intricate choreography, and intense character portrayals by all. But the final group number, La Vie Boheme, was the perfect way to bring the performance to a satisfying close. One of the most enjoyable parts of the show was how the performers injected their own personalities into their roles. They threw in some improv and personal touches that kept us entertained and chuckling throughout. The three acts did make the show feel a bit lengthy, but I do understand the desire to give each performer their moment to shine. Of course, there were some challenges too, but the performers managed to turn obstacles into opportunities for spontaneity and charm. I really enjoyed the fresh and fun song choices, some of which I have never heard performed live before. While there were some songs that are particularly hard to execute and moments where the keys didn't quite match the singers' voices, I think the cast really rose to the occasion and gave it their all. It was clear that they put in a lot of effort to make their characters unique and memorable. I do think that maybe transposing the songs to better suit the performers' vocal ranges could have allowed them to showcase their talents even more effectively. It's important to keep in mind that adrenaline can impact vocal performance, affecting both the lower and higher ends of a singer’s range. The venue did feel a bit cramped at times, and the sound of food buzzers was a bit of a distraction. Props to the team for working with what they had in terms of acoustics and lighting in this space. The cast, while all super talented, was quite large for the venue, and it would have been nice for them to have a more private space for costume changes. However, being in the cosy setting of Nosferatu Distillery gave the performance a special, up-close charm. The audience certainly loved it, and the signature gin drinks were a hit! Massive props to VOX Theatre Arts for providing a wonderful platform for aspiring performers to shine. Congratulations on your first production—I had a blast! Here's to many more successful shows in the future!

Playwright: Finegan Kruckemeyer Director: Catarina Hebbard Venue: QUT, The Loft Theatre In a world where the climate crisis is no longer a looming threat but a pressing reality, Finegan Kruckemeyer's ‘Hibernation’ is a breath of fresh air— ironically, one we might need if the play’s harrowing scenario were to unfold! Directed by Catarina Hebbard, this play melds science fiction with intimate human drama. Kruckemeyer's writing manages to convey powerful messages about climate change without being preachy. Instead, it weaves its environmental message through personal stories and even some humour to balance the heavy subject matter. The talented cast of QUT BFA Acting grads, supported by various QUT departments, brings this captivating story to life over three compelling acts. The first act, set in 2030, imagines a future on the verge of environmental collapse. In a desperate act, world leaders decide to use a gas to put the entire human population into a year-long sleep to give the Earth a chance to heal. Sounds peaceful, right? But it stirs up some tough debates and chilling consequences. In the second act, we follow Pete and Maggie, two characters who don't go into hibernation, for reasons revealed during the play. Their journey from isolation to finding comfort in each other is incredibly touching, emphasising how important personal connections are during tough times. Rad Valance and Madeleine Wilson deliver pure and heartfelt performances as these star-crossed strangers. The final act delves into the long-term effects of the hibernation experiment from months to years later, prompting the audience to reflect on the consequences of our actions. As characters awaken, the play explores the complexities of human nature and societal behaviour. Huda Akhlaki, as Cassandra, delivers a powerful monologue on post-hibernation discoveries—dairy cows dying, fish populations thriving, dogs becoming dominant, and coral reefs rejuvenating, as people grow fearful, distrustful, and hoard resources. Sound familiar? Akhlaki's ability to convey a sense of wonder and sorrow makes her performance particularly memorable. Visuals and Design The tech aspects of 'Hibernation' stand out for their imaginative and immersive qualities, with set design by Alexandra MacDonald creating multiple private and global environments with just a few versatile pieces. Costumes by Hayley Woodward ground the dystopian future in a believable reality. The atmospheric music throughout ‘Hibernation’ resembles the soundtracks of nature documentaries, creating an immersive soundscape that evolves with the narrative. Initially soothing, the music becomes increasingly harrowing as the story progresses. The creative team makes exceptional use of the space, with actors utilising every area of the stage. The projections at the back allow some actors to appear both on stage and on screen, showcasing their versatility in performing for both mediums simultaneously. Performances The cast delivers uniformly wonderful performances. Keeley Hay’s portrayal of Emily is a standout, infusing the character with a fierce determination and justified indignation. Hay's ability to convey a wide range of emotions —from egotistic, frustrated, disheartened, and inspirational — makes Emily the most complex figure in my eyes. Her unforgiving ‘hell hath no fury like a woman scorned’ energy in Act 3 is particularly unforgettable. Rue Dallen as Suzanne appears both vulnerable and strong, connecting with the audience on a personal level through an intensely captivating performance (despite her character being a politician). Aristene Kisando brings quiet strength to Chidera, reflecting on the hibernation’s impact on diverse communities and cultures. Josh Nicholls' interpretation of Mark adds yet another layer of complexity to the story, through the examination of ethical dilemmas regarding autonomy and consent. His interactions with the lead characters are always authentic, regardless of the tone required for whichever character he is embodying at the time. Chelsea Doran's portrayal of the child offers an innocent yet profound perspective on the situation, symbolically setting up dominos on stage to reflect the play's themes of cause and effect. Madeleine Wilson delivers a moving performance as Maggie, showcasing a delicate balance of heart-warming and heart-wrenching moments. Her powerful monologue in Act 2 is raw and vulnerable, leaving the audience on the edge of their seats as we entered the intermission (and perhaps feeling a bit sickened). Rad Valance brings naturalistic charm to Pete, providing some comic relief and a believable compassion but caution towards Maggie. Together, they paint a vivid picture of an alien yet familiar world, using evocative descriptions of nature reclaiming Brisbane. Impact 'Hibernation' is a culturally relevant blend of speculative fiction and intimate drama, drawing unmistakeable parallels to the COVID lockdowns. It can be compared to works like 'Don't Look Up' (film) and 'Station Eleven' (novel), exploring themes of existential threat and human resilience. The creative synergy between the cast and crew results in a visually enlightening and intellectually stimulating experience that concludes the story with everything falling into place like dominos. Now playing until 1st June, 2024 Tickets Available Here

Event Overview: Event: Toucan Club - Live Arts & Cabaret Festival Dates: 21st November – 21st December, 2024 Location: PIP Theatre, Savoir Faire, 20 Park Rd, Milton QLD 4064 Performance Times: 5:30pm, 7:00pm, and 8:30pm (Wednesday to Saturday) Ticket Prices: Adult: $37 Concession: $33 Groups: $30 per person Two Show Deal: $50 ($25 per ticket for two different shows) About the Festival : Toucan Club, hosted annually by PIP Theatre, is a cabaret festival celebrating diverse and exceptional talent. The festival aims to provide a platform for artists to showcase their work, representing the creativity that Brisbane has to offer. The festival includes a mix of local performances and select acts from Melbourne and Sydney. The variety of performances including theatre, comedy, musical theatre, music, dance, and improv. Three one-hour shows each night, from Wednesday to Saturday. Emphasis on quick bump-in/bump-out format to accommodate multiple acts. How to Apply: Applications are currently open for performers with a 60-minute show. To apply, follow these steps: Read the Application Guide: Application Guide Submit Your Show: Complete the submission form here. Key Dates: Submission Deadline: 25th July 2024 Gala Launch: 16th November 2024 Tech Week: 18th-20th November 2024 Venue and Technical Details: Seating Capacity: 100 - 130 seats Stage Dimensions: 6m wide x 4m deep (Proscenium Arch) Lighting: Performances can program their lighting within a set rig of lights, with tech operators provided. Sound: Equipped with QSC K12.2 loudspeakers and Shure microphones. Projection: Panasonic PT-RZ690B projector available. Backstage: Includes black push-up drapes and mezzanine-level bio box. Contact Information: Associate Producer: Harrison Allen (Harrison@piptheatre.org) Founder and Creative Director: Deidre Grace Production & Venue Manager: Amelia Slatter (amelia@piptheatre.org) Marketing Director: Jenna Todd (Jenna@piptheatre.org) For more information and to book tickets starting from August 13th, 2024, visit the PIP Theatre website.

Welcome to Camp Rock, where young performers can unleash their talent and passion in a high-energy musical experience! Join us for a fun-filled week of rehearsing, performing, and making memories with new friends. About Camp Rock: The Musical: Follow Mitchie and her friends as they arrive at Camp Rock, ready for a summer of music and fun. However, their camp faces a new threat from the flashy Camp Star across the lake. Mitchie must rally her fellow Camp Rockers to save their camp and prepare for the ultimate showdown! Auditions (Lead & Supporting Roles): Date: Sunday, June 9th, 2024 Time: 12pm – 3pm Location: Alchemy Studios Brisbane, Lutwyche Audition Requirement: Auditions are upon application ONLY. Participants must sign up for the Holiday Camp to audition. Every participant will be part of the production ensemble, even if they do not receive a lead role. Event Details: Workshop Dates: June 24th, 2024, to June 29th, 2024 Venue: Alchemy Studios Brisbane, Lutwyche Performances: Saturday, June 29th, 2024, at Stagehouse Theatre, Hayward Street, Stafford (2pm & 4pm) Holiday Workshop Program (June 24th - 29th): Full-day workshops from 9.00am to 4.00pm Script and music sheets provided Lead & supporting roles costumes included 1 FREE Show ticket per participant Professional Photo Pack of the performances BBQ Lunch on Friday Pizza Party Lunch at the theatre on Saturday Insurances / Licensing Workshop Fee: Price: $395.00 (includes all workshop materials and benefits listed above) Requirements: Open to participants aged 9 to 17 years old No previous experience required to join the ensemble Commitment to attend every day of the week-long camp How to Register: Visit LVBA Camp Rock The Musical for more information and to register for this exciting holiday camp! Contact Information: Email: admin@lvba.net.au Phone: 07 3106 9983

Auditions: Video Auditions close midnight, Thursday 6th of June Callbacks: Sunday, 9th of June from 10am (Johnson St Studios, 4/50 Johnson St, Southport) Rehearsal Period: 13th June - 20th August (Tuesday, Thursday nights and Sunday days) Performance Season: 23rd August - 7th September, 2024 Director: Hunter Wall About the Play Playwright: Tennessee Williams Synopsis: The play follows Blanche DuBois, a former Southern belle who, after a series of personal losses, moves into a shabby apartment in New Orleans with her sister Stella and brother-in-law Stanley. It is a critically acclaimed exploration of themes such as aggression, desire, and deception, set against the backdrop of 1940s New Orleans. Audition Process Registration: Read the audition pack carefully here Register your audition here. Self-Tape Submission: Prepare a 1-3 minute monologue from a published play. Submit your self-tape here. Callbacks: If selected, attend callbacks on Sunday 9th of June from 10am at Johnson St Studios. Character Breakdown Blanche DuBois (Lead): Female, 30-45 Stanley Kowalski (Lead): Male, 25-35 Stella Kowalski (Lead): Female, 25-35 Harold “Mitch” Mitchell (Supporting): Male, 25-40 Eunice Hubbel (Supporting): Female, 30-40 Steve Hubbel (Supporting): Male, 25-35 Pablo (Supporting): Male, 25-35 Unnamed Black Woman (Ensemble): Female, 25-35 Doctor (Ensemble): Male, 30-40 Nurse (Ensemble): Female, 30-40 Young Collector (Ensemble): Male, 18-25 Mexican Woman (Ensemble): Female, 35-45 All roles require practice with a Southern accent and/or American dialect. Content Warnings Depictions of violence and domestic abuse Depictions of rape and attempted rape Contains coarse and/or derogatory language Depictions of drug and alcohol use Sexual references including an onstage clothed simulated sex scene between Stanley and Stella (no nudity) References to child abuse References to death and dying References to suicide Homophobic references Depictions of mental illness Additional Information: Age Limit: 18 years and older. Self-Tape Instructions: Use a phone camera, film landscape in a quiet, well-lit area. Getting Involved: Interested in behind-the-scenes roles? Email: streetcarspotlight@gmail.com

YeahNah Theatre Collective is excited to announce auditions for their first MainStage show! Audition Details: Date: Sunday, 9 June 2024 Time: 2:00 PM - 5:00 PM Location: Backbone Youth Arts, Seven Hills Production Information: Rehearsals: August/September Performances: 19-28 September 2024 Roles Available: June Female Identifying Age: 18-28 years old Mum Female Identifying Age: 40-60 years old Audition Requirements: Prepare two contemporary monologues. How to Apply: Email your interest to yeahnahtheatre@gmail.com. About the Play: 19-year-old June is a first-year student on her university swim team, counting every calorie in the lead-up to her big meet. Her 21-year-old sister, Anna, spends her nights going home with strangers from nightclubs and tells herself that she couldn’t be happier. Both sisters keep their shame hidden. But when their mother Dawn announces she is moving in with her boyfriend and Anna and June must move out, their secret lives begin to unravel. Miranda Michalowski’s Young Bodies/Somebody’s is a sensitive portrayal of a fragile time for many young women coming into their own. It uses contrasting monologues to create a sense of unity yet disconnect between a family fractured by divorce, and sheds light on their individual problems.

A Hilarious Journey into the Chaotic World of Theatre Centenary Theatre Group's rendition of Michael Frayn's "Noises Off" offers a wild ride behind the scenes of a troubled stage production, featuring a motley crew of unstable actors, a hot-tempered director, and an overwhelmed stage crew. As the characters struggle to stage the tacky comedy titled 'Nothing On,' the boundaries between their on-stage roles and off-stage lives blur. Divided into three acts, the production guides the audience from a frustrating technical rehearsal to the backstage mayhem during a live performance, culminating in a disastrous final performance. Michael Frayn’s script not only keeps us laughing at the absurdity but also offers a fond look at the quirks and follies of theatre people. Act One: The Technical Rehearsal The commotion commences with a frantic midnight technical rehearsal preceding the opening performance. Amidst missed cues, forgotten lines, and misplaced props (particularly those pesky sardines!), director Lloyd Dallas, portrayed with sarcastic flair by Michael Civitano, navigates the madness from his seat with us in the audience. This act sets the stage for the chaos to come, introducing us to each character's quirks and flaws and showcasing the stressful reality of last-minute preparations where you sometimes must “use opening night as the dress rehearsal.” Act Two: Backstage Mayhem In Act Two the audience is treated to a offstage perspective during a live performance - complete with the familiar backstage blue lighting. Here, the crumbling relationships among the cast take centre stage as romantic rivalries, personal quarrels, and hidden alcohol create a whirlwind of silent chaos. The use of mime and slapstick is brilliant, as the cast engage in noiseless arguments and panicked efforts to salvage the show despite everything going awry backstage. It’s a testament to these actors’ skills that the sheer amount of interaction in this Act is both apparent and hysterical – you seriously need nine pairs of eyes to watch everything going on! Act Three: The Grand Finale The production reaches its peak of absurdity in the final act as the onstage performance disintegrates into utter mayhem with the actors ad-libbing furiously to cover up mistakes. Set malfunctions, mid-show covers, misplaced sardines, and on-stage injuries cause endless trouble, but the persistent performers are determined to see the show through to its end no matter what! A Night of Relatable Comedy If you've ever been involved in theatre, you will find yourself nodding along to the relatable moments and reminiscing about the wonderful mess that is live performance. From the director’s stress-induced meltdown to the stage manager being told to take a break only to be immediately bombarded with more tasks, these scenes strike a chord with those who have experienced the high-pressure environment and often thankless grind of theatre work. Furthermore, the inevitable mishaps and injuries that plague performers during live performances resonate with painful realism - having broken a foot on-stage myself! Plus, I really enjoyed the constant – and I mean literally constant - use of pet names like "love" and "dear" between the cast to maintain their façade of camaraderie, despite the underlying tensions. Spot-On Casting The cast delivers a stellar performance together, while each member shines in their respective roles with a blend of hilarity and sincerity. I must mention them all because there wasn't a single character I disliked! Samantha O’Hare's portrayal of Belinda exudes warmth and vivacity, balancing her dual roles as supportive peacemaker and backstage gossip monger effortlessly. Bob Polowyj embodies the endearing cluelessness of Selsdon, the veteran actor with a penchant for the bottle. His forgetful antics and loveable quirks earn frequent laughter. Artemisia Allan's version of Brooke showcases her comedic speech and physicality. She depicts the perpetually ditzy actress with unwavering commitment to her character, eliciting laughter with every blank expression and whimsical gesture. Michael Civitano's depiction of Lloyd, the stressed director, strikes a perfect balance between exasperation and humour with his attempts to reign in the chaos while juggling his love life. Brent Jeffrey's portrayal of Garry is exceptional. He captures the character's inability to improvise with comic timing and his tendency for jealously with expressive physicality, especially in Act Two, which made him a favourite of mine! Eleni Koutsoukis brings a pitiful sweetness to the role of Poppy, the overworked and overly emotional assistant stage manager. Her portrayal conveys Poppy's desperation and vulnerability well, particularly in her interactions with Lloyd. Kip Jeffree's portrayal of Tim, the overburdened stage manager who is expected to cover roles, fix the set, and run personal errands is both disheartening and hilarious. His depiction of Tim's exhaustion and flustered demeanour resonates with anyone familiar with managing chaotic backstage antics. Natalie Pedler's performance brings the eccentric Dotty to life. Her expressive portrayal captures the character's comedic mishaps with finesse as she struggles with her lines and props - and those darn sardines causing her such trouble in Act 3! James Sheehan embodies the neuroticism of Freddie with authenticity, including the actor’s confusion over the director’s choices, his need to constantly disturb rehearsal in Act One, and his fear of blood stealing the spotlight in Acts Two and Three. Final Thoughts The intimate setting of the Centenary Theatre, accommodating around 80 people, adds to the appeal and immediacy of this performance. The crafted décor of the foyer sets the mood and the inclusion of a fake program for 'Nothing On' is a delightful touch. Audience laughter was frequent and hearty, indicating a crowd well-acquainted with the tribulations of theatre. Moreover, the impeccable blocking by the real director, William McCreery-Rye, involving the eight doors reveals the intricate timing and coordination required for such a demanding spectacle! Despite being over forty years old, ‘Noises Off’ remains a timeless gem of farcical theatre, boasting humour and situations as relevant and relatable as ever. Its enduring appeal lies in its slapstick physical comedy and witty dialogue, similar to an episode of ‘Fawlty Towers.' This fast-paced comedy is a guaranteed crowd-pleaser, promising a night of entertainment for all. So do yourself a favour and catch this cast's performance before it closes on June 9! Tickets Available Here