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In a world where young voices are louder and more passionate than ever, ‘Slap. Bang. Kiss.’ is a powerful testament to individual resilience amidst societal challenges. Penned by Dan Giovannoni and presented by Underground Theatre this play dives into the turbulent waters of viral fame, social revolution, and personal transformation. The play unfolds through three distinct tales, each marked by a pivotal event. Immi, a defiant teenager, catapults into the spotlight after slapping a peacekeeper in an occupied city, becoming an emblem of rebellion. Sofia's passionate response to (yet another) tragic school shooting propels her onto the global stage, where she becomes a fierce advocate against the horror of gun violence. Meanwhile, Darby and Daniel's quest to break the world record for the longest kiss inadvertently becomes a powerful statement against the shadows of homophobia lurking in their small-town. Through their struggles, Immi, Sofia, and Darby each face adversity in ways that not only define them but also inspire change within their communities. The cast, comprised of Cullyn Beckton (as Darby), Ruby Shannon (as Sofia), and Hannah Sisson (as Immi), deliver performances that electrify and enthral. What truly sets this production apart from what I have seen recently is the actors' fluidity as they rapidly shift between lead and supporting characters (apparently 38 characters in total) by altering their costumes, mannerisms, and voice, all while maintaining the play's breakneck pace and overlapping dialogue with ease. Sisson's portrayal of Immi is a gripping depiction of life under occupation, immersing the audience in a world of defiance and fear with her commanding vocal presence and wide-eyed intensity. Shannon captures Sofia's story with a blend of vulnerability and determination, providing a poignant critique of the aggravating normalisation of gun violence. Beckton's portrayal of Darby is infused with comedic timing and heartfelt sincerity, adding a delightful touch of levity to the play's heavier themes. Director Joshua Price skilfully takes the audience on a wild ride of emotions and storylines by weaving together dialogue, movement, lighting, and sound to seamlessly transition between locations and tones. The rhythmic pace of the play keeps the audience engaged throughout the fleeting 60-minutes. The stage is adorned with newspapers and three bollard blocks that transform into versatile set pieces. The cast manipulates the blocks and their costumes themselves, keeping the audience informed of the shifting characters and settings without the need for elaborate backdrops. Immi's fortified exterior, Sofia's unwavering resolve, and Darby's quest for love and acceptance serve as a reminder that while the world watches, it is the bold, decisive actions of individuals that can truly drive societal transformation. ‘Slap. Bang. Kiss.’ transcends the boundaries of traditional theatre to become a call-to-action for the younger generation to seize their collective power. It confronts the harsh realities faced by its characters and balances them with moments of triumph, painting a realistic yet hopeful view of our world. Underground Theatre's rendition of this contemporary work left an unforgettable impact on the enthusiastic audiences who were fortunate enough to experience it during its short season. I look forward to seeing what they do next!

Event Details: Audition Date: Saturday, 1 June 2024 at 9:00 AM Location: The Play Shed, 4 Amity Street, New Farm, QLD Directed by: Susan O’Toole Cridland Performance Dates: 16th August - 7th September 2024 Brunswick Room, Merthyr Road Uniting Church, New Farm Audition Information: Required Roles: 6 female-identifying actors 2 male-identifying actors Ages: 30+ Accents: Most roles require an American accent. Preparation: No need to prepare an audition piece. Cold reads from the script will be conducted. Rehearsal Schedule: Monday and Wednesday evenings Saturday mornings Additional Information: Open auditions for all roles, welcoming both seasoned “Nashies” and newcomers of all experience levels. To accept a role, you must become a Nash member (required by the Insurer). Synopsis of The Odd Couple (Female Version): This fabulous comedy brings a fresh and hilarious twist to Neil Simon's classic play, reimagining it with female leads. Expect a delightful mix of humour, wit, and the timeless charm that made The Odd Couple a beloved staple of stage comedy. How to Get Involved: For more information on the audition process and to get involved, visit the Nash Theatre Auditions Page. Don't miss this fantastic opportunity to be a part of a classic comedy with a modern twist! All aspiring actors are encouraged to attend. See you at the auditions!

By Kate Mulvany and Anne-Louise Sarks Original concept by Anne-Louise Sarks after Euripides Directed by Daniel Evans Queensland Theatre's production of "Medea" breathes new life into Euripides' ancient Greek tragedy by viewing the story through the innocent eyes of Medea’s two young sons, Jasper and Leon. Within the confines of their shared bedroom, the brothers navigate the complexities of childhood with laughter, quarrels, and boundless imagination. While the echoes of their parents' escalating arguments reverberate outside their locked door, the boys remain oblivious to the impending tragedy ahead. Directed by Daniel Evans, this production offers a fresh perspective on the legend as we witness the final 80 minutes of their young lives. A Modern-Day Tragedy: Set in a contemporary bedroom meticulously designed by Chloe Greaves, the staging cleverly captures the boys' sense of isolation. This modern-day Brisbane bedroom feels incredibly authentic, down to the glow-in-the-dark stars, sports posters, abundant toys, and a real tank housing their beloved goldfish. The simplicity of the child's bedroom, usually a place of comfort and safety, starkly contrasts with the palpable tension just below the surface. Additionally, the entire stage is encased in glass, causing the audience to become detached observers, unable to intervene as we witness the boys trapped in their figurative and literal glass coffin. The script by Kate Mulvany and Anne-Louise Sarks combines playful banter with ominous undertones, capturing the purity of childhood against the backdrop of looming adult conflicts. Moments where the boys' games and conversations mirror themes of betrayal and revenge are particularly impactful; as is the tragic irony of the boys' innocent oversights, such as referring to their father's mistress as "dad's friend" and Leon reassuring Jasper that "I'll always be your big brother even when we are old... like 30.” Evans' direction ensures that the story's tragic inevitability is ever-present, yet he still allows the audience to hope for a different conclusion. Performances: The young actors' performances are a testament to their talent and the supportive environment fostered by their families and the creative team. Felix Pearn’s portrayal of Jasper is endearing and hilariously charming, easily weaving moments of comic relief into the characters’ shared journey. His well-timed comedic moments, like attempting to unlock the door using the force like Yoda, sparked consistent laughter from the audience. Orlando Dunn-Mura’s portrayal of Leon balances authority with vulnerability, embodying a commanding yet tender and protective older brother. Their on-stage interactions create a vibrant and authentic portrayal of sibling camaraderie. A particularly tender scene occurs when Leon uplifts Jasper's spirits with a sweet rendition of ‘Octopus's Garden’ on the ukulele, highlighting the purity of their bond amidst the chaos. Medea's entrance at the 30-minute mark dramatically shifts the tone of the play, announcing that the boys will be moving in with their father and his "friend." Helen Cassidy's portrayal of Medea is hauntingly mesmerising as she navigates the emotional complexities of the character while delicately balancing strength and vulnerability. She transitions from a loving and nurturing mother to a woman consumed by despair as she masks her inner turmoil with a façade of composure for her children's sake. Particularly harrowing is her dissociative state as she dresses her boys and recites all the things that she loves about them, leaving me with a lingering sense of unease and gut-wrenching ache. Cassidy's portrayal adds rich complexity to this legendary character, rendering her a mother both pitiable and horrifying in equal measure. Design Elements: Mike Willmett's sound design and Matt Scott’s lighting work together to immerse the audience in the children's experience. From moments of uncomfortable silence to playful interludes, cricket noises, and musical sequences including a haunting rendition of ‘God Only Knows’, the soundscape is always amplifying the unsettling mood. The LED lights lining the glass enclosure allow for subtle or dramatic lighting changes. One particularly striking moment is when the brothers eavesdrop on their parents’ heated argument, capturing the muffled noise through the door with chilling realism. The stage floods with a sinister red light, and a rising drone amplifies the tension, making the audience feel as helpless as the characters while they rage and trash their room. Another unforgettable scene unfolds later when the boys flick off the lights to transform the room into a galaxy full of twinkling stars and dancing ribbons of light. This simple yet profound choice immerses the audience in the brothers’ world of magic and wonder one last time. Along with the incredible soundscape of atmospheric noise and their sweet singing, this scene served as a poignant reminder of the fleeting nature of childhood, leaving a bittersweet pain in my heart afterwards. Impact and Recommendation: This adaptation of "Medea" is a masterful blend of ancient tragedy and modern storytelling, exploring innocence and betrayal through the eyes of those most affected that unfortunately, remains relevant today. It serves as a reminder of the beauty in the simplicity of a child's world, even within dark tales. The combination of stellar performances, innovative set design, and evocative lighting and sound creates an immersive experience that is both heart-warming and heart-breaking. I highly recommend seeing this show. It will only take up 80 minutes of your day, but its impact will stay with you long after. "Medea" is running until Saturday, 8th June, at The Billie Brown Theatre in South Brisbane. Tickets Available Here

Matrix Productions' "Diary of a Madman," currently showing at PIP Theatre, offers a haunting and masterful exploration of the human psyche. Adapted from Nikolai Gogol's 1835 short story by David Holman, with contributions from Neil Armfield and Geoffrey Rush, this production skilfully navigates the delicate balance between comedy and tragedy, creating a theatrical experience that is both harrowing and profoundly human. Directed by Michael Futcher, the play follows Aksentii Poprishchin, just an average Joe working a dead-end job in 19th century Russia, disappointed with life, and venting his frustrations in his diary every night as he isolates himself in his attic bedroom. His journal entries range from criticisms of his superiors to obsessive thoughts about his boss's daughter to a peculiar belief that dogs can talk. He starts with a standard date-based diary format, but at a certain point, even the dates take on an irrational form as his sense of conventional time dissolves. As his fixation on these imaginary canine conversations grows, the boundaries between reality and delusion blur, plunging him into a spiral of hilarious daydreams and heart-breaking schizophrenic episodes. As Poprishchin's alienation from society deepens, his entries become increasingly erratic, culminating in a tragic confinement in an asylum. Performances: Have you ever met someone who can captivate you when narrating a ghost story around a campfire or dishing out juicy gossip over brunch, so much so that you become riveted? Even when speaking nonsense, Rowan Chapman’s performance is like this, timed and delivered with the flair of a stand-up comedy routine. Chapman delivers an extraordinary performance as Poprishchin, capturing both the entertaining absurdity and the lonesome despair of his character. Like watching a masterclass in acting - he applies every aspect of his physicality and vocal range to bring Poprishchin's chaotic mind to life. His interaction with the audience adds a unique layer to this performance, monologuing to us in a way that feels both disarrayed but relatable. Chapman's choice to give a vacant stare each time his thoughts suddenly shift – absolutely brilliant. His presence on stage for the full 90 minutes demands a huge amount of energy, earning him two rounds of applause upon conclusion of the show. Honestly, he provides some of the most expressive acting I’ve seen, as his evolution into the madman is somehow equally unnerving and heart-wrenching. Sarah McIntosh performs several roles, including Tuovi, Poprishchin’s Finnish maid, his fantasy love interest Sophie, and a disturbing asylum captive. McIntosh transitions effortlessly between these characters, showcasing her versatility and heightening the emotional impact of the story with each role. Her portrayal of Tuovi evolves from comedic misunderstandings to a more sombre tone as she becomes increasingly desperate to assist Poprishchin. McIntosh also shared that she diligently studied Finnish language - and English in a Finnish accent - with a Finnish mentor, which she executes exceptionally well. Lastly, Tabea Sitte’s string accompaniment adds a haunting layer to the production, intertwining with the narrative to underscore Poprishchin's fluctuating mental state. The electric violin is incredible; be sure to take the time to glance at Sitte and appreciate the skill. One of my favourite aspects was the interaction between Chapman and Sitte; he acknowledges her presence - and the audience - to make us feel a part of his delusional world. Direction and Design: Director Michael Futcher's vision is evident in the seamless blend of reality and fantasy. The staging effectively mirrors Poprishchin's fractured mind, with Josh McIntosh’s set and costume design creating a bleak yet versatile environment. The dank attic bedroom and dishevelled clothing reflect his aggrieved state from the beginning and becomes increasingly unkempt, incorporating short moments of darkness to add sweat, blood, and whip marks to his body to heighten the concern for the character. Caleb Bartlett’s lighting design further enhances the atmosphere by using stark uplighting and subtle changes to reflect the protagonist’s instability and enclose us in his delusional world. Impact and Audience: The play’s critique of the bureaucratic system remains strikingly relevant today, offering a timeless reflection on individual struggles against societal constraints. Plus, the depiction of mental illness is sensitive and impactful, shedding light on the often-misunderstood aspects of schizophrenia. The audience's response to the play was overwhelmingly positive, taking us from fits of laughter to contemplative silence in the blind of an eye. Rowan Chapman's embodiment of Poprishchin, supported by a talented cast and exceptional direction, prompted two rounds of applause. Then, we all sat there in a palpable sense of awe until the front-of-house staff had to ask us all to exit the theatre. Matrix Productions' "Diary of a Madman" is a triumphant, thought-provoking piece of theatre that captures the essence of Gogol’s original work while infusing it with fresh energy. Running until June 1st, this adaptation is a must-see for those seeking a powerful exploration of the human condition. Don't miss the chance to witness this exceptional performance and grab a front-row seat for maximum interaction and immersion. It's a journey you won't soon forget - and trust me, you'll be talking about it for days to come! Tickets Available Here Photos by Jeremy Veenstra

An 80s Hits and Memories Cabaret by Jessica Bradford and Helen Bradford Audition Details: Date: Sunday, 2nd June Time: 1:00pm - 4:00pm Location: Burpengary State Secondary College, 192 Pitt Rd, Burpengary QLD 4505 Audition Form: To register, please fill out the audition form Preparation: Group Song: Learn the lyrics to "Footloose" by Kenny Loggins. Solo Audition Piece: Prepare at least one of the following songs: "Holding Out for a Hero" - Bonnie Tyler "Old Time Rock and Roll" - Bob Seger "Danger Zone" - Kenny Loggins "Wake Me Up Before You Go-Go" - Wham Dress Code: Wear comfortable clothing suitable for dancing. Show Dates: Friday, 30th August Saturday, 31st August Sunday, 1st September Friday, 6th September Saturday, 7th September Sunday, 8th September Additional Information: For more details, contact: info@nbtc.com.au

Audition Dates: Sunday, 26th May 2024: 7:30pm - 9:00pm Thursday, 30th May 2024: 7:30pm - 9:00pm Venue: Sandgate Town Hall, Cliff and Seymour Street, Sandgate QLD 4017 Audition Format: No preparation needed. Cold reads will be conducted at the auditions. Performance Dates: Friday, 16th August Saturday, 17th August Sunday, 18th August (matinee) Friday, 23rd August Sunday, 25th August Rehearsal Schedule: Start Date: Thursday, 6th June 2024 Time: 7:30pm - 9:30pm Frequency: Most Mondays, Thursdays, and Sundays throughout June, July, and early August. Location: Sandgate Town Hall The full rehearsal schedule will be provided at the audition. For further information, contact Chris on 0403 886 458 or Visit Sandgate Theatre Inc. Plays and Character Descriptions: ‘Box and Cox: A Romance of Real Life in One Act’ by John Maddison Morton (written 1847) Roles: Box: Male, 30-50 Cox: Male, 30-50 Mrs Bouncer: Mature-looking female Synopsis: Box and Cox unknowingly rent the same room due to their opposing work schedules. Their eventual meeting reveals unexpected commonalities. ‘Yesterday’ by Colin Campbell Clements (written 1923) Roles: General: Male, who can look to be in his 60s Beloved Lady: Female, who can look to be in her 60s Synopsis: A misunderstanding keeps a couple apart for forty-one years. They meet again at a ball and slowly recognise each other, reigniting old feelings. ‘A Matter of Husbands’ by Ferenc Molnar (written 1923) Roles: Young Lady: Female, 18-40 Actress: Female, 18-40 Synopsis: A young wife suspects her husband of infidelity with an actress. The actress cleverly persuades her otherwise, but the truth remains ambiguous. ‘Ashes to Ashes’ by Jill Curran Roles: Sister 1: Female, 40s-60s Sister 2: Female, 40s-60s Commodore: Male, 40s-60s Synopsis: Two sisters debate over their father’s ashes, only to find out he had made unique arrangements with the local Yacht Club, resolving their conflict. ‘A Stab in the Art’ by Paul Hannah Roles: Art Critic: Female, mid 40s-early 50s Friend: Female, mid 40s-early 50s Gallery Worker: Male, mid 40s-early 50s Synopsis: At an art gallery, an art critic and her friend clash over opinions and personal matters, complicated by the gallery worker’s revelations about the artist.

Audition Date: Sunday, 28th July 2024 Venue: Javeenbah Theatre, Stevens St, Nerang QLD Time: Arrive at 1:30pm for registration in the bar area. Auditions begin at 2:00pm sharp in Sophie’s Space. Audition Format: Open audition. Self-tape submissions are not specified; attendance in person is required. How to Prepare: Audition Pieces: Available upon request. Contact Dawn China via phone (0413 666 815) or email (dawn.china@bigpond.com). Required Materials: Bring a headshot and a bio detailing your theatre work to date. Commitment: Ensure availability for all rehearsals and performances. Inform Dawn of any pre-existing commitments during the rehearsal period. Important Dates: Read-through: Sunday, 4th August at 2:00pm (at Dawn China’s home) Rehearsals Begin: Sunday, 11th August at 2:00pm Regular rehearsals: Sunday afternoons, Monday evenings, and either Wednesday or Thursday evenings. From 15th September to 22nd September, Sunday rehearsals will be at 10:00am. Stage Bump In: Monday, 30th September Performance Dates: Opening Night: Saturday, 23rd November at 7:30pm First Matinee: Sunday, 24th November at 2:00pm Additional Performances: Friday, 29th November at 7:30pm Saturday, 30th November at 7:30pm Second Matinee: Sunday, 1st December at 2:00pm Friday, 6th December at 7:30pm Closing Night: Saturday, 7th December at 7:30pm (followed by cast/crew party) Stage Bump Out: Sunday, 8th December Character Descriptions: Pearl (55-60): The eldest of the group, acts as a maternal figure but reveals vulnerability during the trip. Jan (45-50): Conflicted about her relationship with Joe, she is a constant worrier. Shelley (25-30): A glamorous, materialistic woman who reconnects with her humble origins during the trip. Linda (25-30): A philanthropic young woman who delivers some of the most poignant lines. Joe (45-50): The former supervisor and Jan’s love interest, navigating obstacles to reunite with her. Supporting Male Roles: Various smaller roles including a flight attendant, drag queens, a firefighter, and more, divided among 2 or 3 male actors. Accents: Yorkshire accent required for Pearl, Jan, Shelley, Linda, and Joe (can be coached). Australian accent required for other male roles. Plot Summary: "Ladies Down Under" follows the four women from "Ladies’ Day" as they travel to Australia after winning big at the races. Their journey is filled with humour and touching moments as they explore the Gold Coast, Uluru, and Sydney’s Mardi Gras, facing various challenges and experiencing personal growth. For more details and to download the audition pack, visit: Javeenbah Theatre Auditions For questions or to request audition pieces, contact: Dawn China (Director) Email: dawn.china@bigpond.com Phone: 0413 666 815

Queensland Theatre is casting for the role of Bronson Twist in "Round The Twist: The Musical." This is an open casting call for Brisbane-based young male actors. Role Description: Character: Bronson Twist Age: 9-12 Requirements: Strong and confident stage presence Strong singing voice (Range: Bb3 – D5) Musical theatre experience desired but not essential Australian accent Key Dates: Application Deadline: Wednesday, 5 June 2024 In-Person Callbacks: Weekend of 15/16 June 2024 Rehearsals: Start week commencing 16 September 2024 Full Cast Rehearsals: Start week commencing 30 September 2024 First Preview: Tuesday, 12 November 2024 Opening Night: Friday, 15 November 2024 Final Performance: Sunday, 1 December 2024 (Possible extension until Sunday, 8 December 2024) Application Instructions: Audition Pack: Download Here Identification Shot: Full body shot with name, height, age, and agent (if applicable). Audition Scene: Prepare the provided scene from the audition pack. Song Extract: Prepare the last 18 bars of one of the songs from the show, using the provided backing track. Submit the three separate files via WeTransfer to casting@queenslandtheatre.com.au. Include a contact person and phone number in the message.

General Information Villanova Players welcomes participation from all members of the community, encouraging applications from people of diverse backgrounds, abilities, and experiences. We are holding auditions for our upcoming production of Oscar Wilde's classic comedy, "The Importance of Being Earnest", directed by Leo Bradley. Join us for this exciting production and bring Oscar Wilde's timeless characters to life on stage! Audition Details Date and Time: Sunday, 16 June 2024, 11:00 am - 12:30 pm Location: Ron Hurley Theatre Additional Auditions: If necessary, callbacks will be held on Tuesday, 18 June, and Thursday, 20 June from 7:30 pm - 9:00 pm Performance Dates: 23 August - 1 September 2024 Roles Available John Worthing: Young man, slightly insecure, keen to get on in society, madly in love with Gwendolen. (Male, 20-35) Algernon Moncrieff: His best friend, a journalist, no insecurities whatsoever, Gwendolen’s cousin, musical, overly educated, always eating. Falls unexpectedly for Cecily. (Male, 20-35) Rev. Canon Chasuble: Local clergyman, opinionated, lectures a lot, a sermon for every occasion (often the same one). (Male, 50-75) Lane, Manservant/Housekeeper or Cook: Much put-upon butler to Algernon, a man with a past – could be a housekeeper and female. (Any gender, any age) Merriman, Butler/Housekeeper: Senior servant at John’s country estate, exhausted trying to run after young Cecily. (Any gender, any age) Gwendolen Fairfax: John Worthing’s intended, romantic, always the centre of attention, enjoying the hunt for a husband but has her own list of desirable attributes, deeply shallow. Attracted to John because she thinks his name is Earnest. (Female, 18-26) Cecily Cardew: John Worthing’s exceptionally pretty ward, romantic and wild, passionate, imaginative, overly educated in geometry and political economy. Devoted to pressing flowers and keeping her diary. (Female, 18-22) Servants: Various servants needed for both houses, especially Moulton the gardener, valets, parlour maids, etc. Involved in the physical comedy of scenes and mopping up afterwards but do not have many lines. (Any gender, any age) Note: The roles of Lady Bracknell and Miss Prism have already been cast. How to Audition Download the Audition Pack: Audition Pack Prepare a Monologue: A short 1 to 2-minute monologue, preferably comic. You can choose from any work, though we suggest pieces by Oscar Wilde, Bernard Shaw, or Noel Coward. Some suggestions are included in the audition pack. Attend the Audition: Be prepared for a short reading of some scenes with other auditionees. Rehearsal Schedule Rehearsals Start: Tuesday, 25 June 2024 Rehearsal Days: Tuesdays and Thursdays from 7:30 pm - 9:30 pm, and Sundays from 11:00 am - 4:00 pm Tech Week: 18-22 August 2024 Performance Dates Friday, 23 August 2024: 7:30 pm Saturday, 24 August 2024: 2:00 pm and 7:30 pm Sunday, 25 August 2024: 2:00 pm Friday, 30 August 2024: 7:30 pm Saturday, 31 August 2024: 2:00 pm and 7:30 pm Sunday, 1 September 2024: 2:00 pm Contact Information Email: info@villanovaplayers.com Phone: 0423 920 832 Expression of Interest If you are unable to attend the audition but are still interested in participating, please complete the Expression of Interest Form.

Ten Reasons to Celebrate Women in Theatre is an exciting showcase of ten one-act plays, each celebrating the contributions and talents of women in the world of theatre. This unique event promises an evening filled with diverse stories and compelling performances. Event Details Date: 19th September 2024 Location: PIP Theatre, Milton Audition Information Date and Time: Saturday, 25th May at 2:30pm Registration Deadline: 22nd May 2024 How to Audition To audition for Ten Reasons: Email nicky@nickywvoices.com to request a full audition pack and registration form. Prepare for your audition based on the guidelines provided in the audition pack. Attend the audition at the scheduled time and showcase your talent! This production is a profit-share arrangement, so participants will share in the proceeds from the event. It's a fantastic way to gain experience, collaborate with fellow artists, and celebrate women’s contributions to theatre. Don’t miss this chance to be part of an empowering and inspiring evening at PIP Theatre. Email nicky@nickywvoices.com today to secure your audition slot!

Can you walk me through your journey in the entertainment industry, from your beginnings to launching your company? Josh: I started out as a live musician, was in a band, and did the Triple J thing, before getting into acting as well. I studied Pop Music at uni, as well pursuing acting credits. After being involved in musicals such as Songs for a New World (Man 1), Hair (Hud), Little Shop of Horrors (Audrey II), and Legally Blonde (Emmett), just to name a few, I began combining my singing and acting skills by writing cabarets for fringe, cabaret, and other festival circuits. I continued to do this for many years, eventually realising I was producing my own work. In October 2022, I launched JDProCo after providing over 30 artists with opportunities in the world of theatre, cabaret, and concerts that aligned with my past projects. That's a fantastic achievement! Building on that, could you share what inspired you to start JDProCo? I'm curious about how you balance the various responsibilities involved in running your own company while fostering the growth of the artists in your creative projects. Josh: When you create something like a company, your role involves wearing many hats, as well as being the face of your work. JDProCo naturally evolved from my desire to create, collaborate, and provide opportunities for my peers and network, all while expressing myself on stage. I produce according to my own tastes, which are influenced by my love for musical theatre, mid-00's jams, singer-songwriters, and festive holiday tunes. My approach to nurturing artists is simple: I ask them what they want to achieve. Working primarily with actors and music theatre artists, I understand that it can be a daunting experience at first, as they are conditioned to follow directions and do what they are told (E.g. “stand on this light, hit this mark by this line, don’t use vibrato in this section”). I trust the artists to make their own choices and then I collaborate with them if they need guidance, feedback, or even just validation that they are doing an excellent job. It is incredibly rewarding to witness them making great choices and unlocking that part of their creativity. Can you tell me about some of the projects you've launched with JDProCo, and how they reflect your vision for the company? Josh: We are well-known for our annual Broadway, So Millennial, and Christmas shows. A labour of love that I launched this year, called SING!, is aimed at spotlighting singer-songwriters, musicians, and singers who have taken a break from the industry and are looking to make a comeback in an intimate setting. By the end of 2024, we will have produced 9 events across these four projects. Starting out as a singer-songwriter myself, this was a small way of giving back and providing a platform within the community that doesn’t require as much pressure to be “industry oriented” but rather just a space for artists to express themselves. It has been interesting to build an audience for this project outside of the theatre community, but I am excited to see how JDProCo can extend its reach with a multi-genre approach. That sounds like a wonderful new project, Josh. I'm interested in the inspiration behind the rebranding of your Broadway events this year. Can you share how the idea came about and the collaboration with PiP Theatre? Josh: The idea of rebranding has been in talks with my nearest and dearest since our last Broadway event in October 2023. The event started in April 2021 as a way for myself and my friends to return to the stage after the negative effects of Covid in 2020. The formula involved artists performing three songs each in a set, like their own mini cabaret. We have hosted six editions of Broadway in the Dock and over time, the show naturally evolved into a more curated experience resembling a traditional production, complete with acts and ensemble numbers. Without hyperbole, I have a deep love for PiP Theatre - they had been knocking on my door to collaborate on something, and when the time came for rebranding, we finally had the meeting. We chatted about what I wanted to achieve for the event, and ultimately decided to co-produce the rebranding, resulting in what is now known as The Broadway Jam. Absolutely, the return of live theatre has been such a gift. So, what's in store at The Broadway Jam? Can you give us a sneak peek into the whole experience? Josh: Attendees can expect high excellence from performers who are either working professionally or rising in their emerging status. The experience has a very “downtown” feel and is curated evenly with both production value and a focus on the heart of the show, which is “piano and voice,” showcasing each artist with their voice as their instrument and storytelling vice. The event offers a Broadway experience spanning different genres from Sondheim to Kander and Ebb, to Lin Manuel Miranda and Jason Robert Brown. You will also hear some songs in a different way. We LOVE arranging well-known Broadway songs to offer a new sound for the audience. Some artists will also showcase their skills playing their own instruments during The Broadway Jam - we are literally creating a jam session and taking our audience along for that ride. Let's talk about the magic behind the scenes. Could you provide more detail on the collaborative process with artists and creatives when curating events like The Broadway Jam? Josh: The process varies for each artist; I am involved as a collaborator and will curate the show based on the artists' choices. Additionally, I seek input and guidance from our accompanist to collaborate on music direction decisions, which makes it all very fulfilling. Our timeline is quite short since many of the artists I work with have multiple other creative commitments going at the same time. So, it is a tight ship that I must get over the finish line each time. Fortunately, the people I work with are focused, professional, and enthusiastic about contributing to the process. Shifting gears a bit, I'd love to hear about some memorable moments from past productions and events hosted by JDProCo. Josh: The last Christmas show was a huge moment for both myself and the company. It featured a 16-piece band and was put together in just five rehearsals. It was truly fulfilling for me, as I am heavily involved in the arrangements alongside my collaborator, Paula Girvan. Seeing everything from my imagination come to life was an absolute thrill. We had our best audiences yet, and the entire band walked away feeling so chuffed with what we achieved. The band has become like a family of exceptional people, and it is an honour to captain that ship every December. As we approach our 5th anniversary of the Christmas show, we plan to make it even bigger this year! It's clear that you have created some truly special experiences for both performers and audiences alike. Looking ahead to the future, what is your vision for the role of JDProCo in the musical theatre scene in Brisbane and what sets it apart within our arts community? Josh: I envision the role of JDProCo in our industry as a platform for music theatre artists to discover new things about themselves and find out the artist they want to be. JDProCo focuses on the artist and creating an environment that hands the power to them. We are creating something that truly does feel like an opportunity, in its many facets, for the creative individual. And each time we want to build our audience (and almost educate them on what a music theatre experience can be like), it is always in a space that isn’t a traditional theatre building. If this experience challenges, inspires, and validates their passion for performing, then I feel we have achieved wondrous success. I'm sure aspiring artists would love to hear your insights and advice for breaking into the industry. What guidance would you offer to those looking to pursue their dreams in musical theatre? Josh: My advice at the moment would be to prioritise creativity and strive for a path that allows you to express yourself unapologetically. The industry is also known as show BUSINESS for a reason, so don’t be afraid to ask tough questions to individuals you perceive as successful about finances, contracts, and protocols. It is crucial to become a knowledgeable artist who can navigate the industry's incredible highs and lows and possessing this knowledge will aid in building your resilience. That is such a good point. I'd love to hear more about what personally drives you and keeps you passionate about your work in the theatre industry. What aspects of your role do you find most fulfilling, and what keeps you motivated to continue creating and inspiring others? Josh: My main motivation, and please discuss this with me if you do not like this approach - but I am very driven by the notion that I simply do not want "this" to end. I am 100% irrevocably in love with being artistic and creative. My purpose and duty are to create work, inspire work, and most of all, be fulfilled by what I do. This drive never leaves me, even when I am exhausted and burnt out at times. I am very privileged to lead a team of individuals who eagerly step forward when the call to "create a project" arises once again. In addition to my personal drive (which is obscenely high), I am also driven by the creatives I have surrounded myself with who share the same passion for this work. It is this consistent collaboration that ultimately drives my fulfilment. All I am chasing is exactly that. It's wonderful to see someone so deeply committed to their craft and driven by the simple desire to keep creating. This not only ensures longevity of your projects but also fosters a sense of purpose that is invaluable in the creative industry, making JDProCo a beacon of inspiration for both artists and audiences alike. Keep chasing that dream, Josh! [The Broadway Jam plays at PiP Theatre June 28 & 29, 2024] Tickets Available Now

Roar Academy's production of Finding Nemo Jr. at Theatre 102 in Redcliffe was a delightful dive into an undersea world of fun! This timeless Pixar story of Marlin, an anxious clownfish, and his adventurous child Nemo, was brought to life by the talented young cast with a blend of humour, emotion, and musical moments. From the opening number, 'Big Blue World,' the strong ensemble vocals set the stage for a captivating performance that had the audience hooked (no pun intended). The sea creature costumes were an adorable addition to the underwater setting, giving us a delightful treat from the moment they “swam” onto the stage. Toby Bailey's portrayal of Marlin was touching, while Daya Sudhi shined as Nemo with her beautiful vocals and stage presence. Her solo, ‘Where’s My Dad,’ showcased her strong musical theatre voice, making her a standout lead at such a young age! Zoe Hitchcock as the forgetful Dory made a splash with her energetic entrance and kept those energy levels high with her bubbly performance. Her rendition of 'Just Keep Swimming' was a vocal challenge that she tackled with impressive gusto. Ava Collett as Gill delivered a stunning vocal performance in 'We Swim Together,’ leaving me wishing I could hear more from her. Tyler Haynes as Nigel, Kirill Yaremchenko as the tourist, and the lively seagulls clearly had the most fun of anyone on stage. Their enthusiasm was infectious and added that extra layer of enjoyment every time they showed up. ‘Fish are Friends’ was jazzy delight, complete with tap-dancing sharks! A little tip to the ensemble - keep your beautiful faces up and engaged! Even if you are finding the choreography challenging or easy, it’s crucial to avoid looking at the ground. Your shining faces are a vital part of the performance’s energy. The Act 2 opener, 'Go With the Flow,’ was a definite highlight. Mia Dacey as Crush embodied the easygoing sea turtle and handled a vocally challenging song excellently. I can’t help but wonder where they found 17 turtle onesies (and where I could get one for myself). That number was a joy to watch and undoubtedly a favourite for many. The heartfelt conclusion of the show left hearts full and eyes misty, creating an atmosphere of shared pride. Overall, Finding Nemo Jr. was a success, featuring charming young performers, imaginative costumes, and a heartwarming story that left smiles on everyone's faces. Congratulations to the cast and crew for crafting such a memorable experience for all involved! I look forward to seeing what they do next!