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A Riveting Modern Take on "Twelve Angry Men" Sandgate Theatre Inc. delivers a gripping rendition of "12 Angry Jurors", enveloping the audience in the intense deliberations of a diverse jury as they decide the fate of a teenager accused of murdering his father. Each character, identified only by juror number, grapples with their biases and preconceptions as the tension escalates. The gradual evolution of opinion, spurred by Juror 8's unwavering commitment to justice, is a testament to the importance of standing up for what is right, even in the face of overwhelming opposition. If you, like me, remember studying the original play, "Twelve Angry Men", from high school, you'll notice some changes in this modernised Australian adaptation. First off, there are four men and eight women on the jury this time, and instead of a death sentence, it's life in jail on the line. This alteration provided a new perspective to the narrative, especially with women taking on most of the lead roles. Set in the round, with the jurors’ conference room at its centre, the immersive staging cleverly placed the audience within the heart of the action. Despite the inherent challenges of projecting their voices without microphones in a reverberant space, the cast rose to the occasion by amplifying the intensity of their discussions. Meticulously selected for their roles, the cast delivered wonderful performances that brought the jurors to life with authenticity and conviction. Their ability to convey the nuances of their characters from the subtle movements to the impassioned monologues, ensured that even those jurors with their backs to the audience remained compelling and believable throughout. Meg Kiddle's portrayal of Juror 8, the voice of reason, was particularly compelling. Kiddle's frustration and determination were palpable, even as her back was turned to me. She served admirably as the impartial anchor amidst the turmoil. Jeremy Wellwood, Greg Jones, Nicky Whichelow, and Carmen Heath also left a lasting impression as they navigated complex character emotions with finesse. Wellwood, as Juror 4, delivered a performance marked by restraint and intelligence. His measured demeanour provided a counterbalance to the heightened emotions swirling around him. Jones, in the role of Juror 7, dominated the proceedings with his charismatic presence and obnoxious demeanour of his character. Heath's interpretation of Juror 10 captured the odious character's bigotry and insecurity, serving as a sobering reminder of the impact of unchecked biases on the pursuit of justice. Whichelow's portrayal of Juror 3 was a tour de force of raw emotion and vulnerability as she navigated the character's journey from obstinacy to introspection. Special mention must be made of Catherine Radbourne, who skilfully directed the production and showcased her talent on stage as Juror 12. Her direction imbued the play with a sense of urgency and authenticity, while her performance added moments of lightness to the tense narrative. Radbourne's keen understanding of the material brought out the best in her cast, resulting in a cohesive and compelling performance from all. Overall, "12 Angry Jurors" is a must-see for anyone craving a night of gripping drama. The production captures the essence of a real-life courtroom drama, keeping me on the edge of my seat for most of Act 2! I recommend securing a central seat for the best view of the action and prepare to be thoroughly engaged by this modern take on a classic tale. (Note: The play contains themes of domestic violence and murder, which may be distressing to some audience members.) Purchase Tickets Here

About the Production: Death by Design Death by Design is a mash-up of Noël Coward’s wit and Agatha Christie’s intricate plotting. Set during a weekend in an English country manor in 1932, the story follows playwright Edward Bennett and his actress wife Sorel Bennett who flee London after a disastrous opening night. Unexpected guests, each with a long-held secret, arrive. When one guest is murdered, it's up to Bridgit, the feisty Irish maid, to solve the crime. Meet the Production Team Grace Crichton – Director Rowan Nash – Director Brian Crichton – Production Manager Marina Crichton – Production Manager Important Dates Audition Forms Due: Midnight, 14 June 2024 Audition Dates: 15 and 16 June 2024, from 10am to 3pm at My Care Physio, 16 William St, Gatton Callbacks: 19 June 2024 Rehearsal Start Date: 23 June 2024 Tech Week: 12 October to 16 October 2024 Performance Dates: 17 October 2024: evening performance 18 October 2024: evening performance 19 October 2024: matinee and evening performance Rehearsal Information Regular Rehearsals: Saturdays from 23 June to 5 October, plus weeknights in the week before opening night. Location: St. Alban’s Church, Cnr. Railway and Spencer Street, Gatton. Tech Week and Performances: Gatton Shire Hall, 52 North Street, Gatton. Audition Information How to Register: Please email rororeednash@gmail.com or direct message LRPA via Facebook or Instagram with: Your Name Your Mobile Number Your Email Address The role(s) you wish to be considered for Your preferred audition day and time Preparation: Prepare for a cold read from a selection of sides provided at the audition. No memorisation required. Audition sessions will be roughly 15 minutes long. Notify by June 19 with outcomes. Character Breakdown Bridgit: The maid; grumpy but observant. An older woman with a heart of gold who fancies herself a detective. Jack: The chauffeur; a charming womaniser with a troubled past. Edward: The playwright; vain and self-important, believes his work rivals Shakespeare. Sorel: The actress; dramatic and somewhat ditzy, in competition with another actress. Walter: The politician; stiff, well-to-do man who wants to maintain the status quo. The victim. Victoria: The bohemian; an artist and Sorel's close friend, inspired by all art forms. Eric: The radical; politically minded, expresses beliefs with fervour. Alice: The visitor; a shy young girl who is revealed to be blind. Contact Information Email: info@lrpa.org.au Web: www.lrpa.org.au Facebook: LockyerRegionalPerformingArts Instagram: @lockyerregionalperformingarts

This adaptation of William Golding's classic novel offers a unique twist: all characters will be portrayed by women. This decision allows us to explore themes of power, leadership, and the complexities of human nature through a fresh and dynamic lens. We are seeking talented performers who are passionate about storytelling, character development, and collaborative creativity/devising. We encourage you to bring your unique interpretation and energy to the audition. PRODUCTION TEAM Director: Joshua McCann-Thomson Assistant Director: Bianca Riek Fight Choreographers: Flynn Anderson & Ethan Robinson Costumes: Millie Talbot ABOUT THE PLAY Lord of the Flies, based on the classic novel by William Golding, follows a group of British students stranded on a deserted island after their plane crashes. As they struggle for survival, their society descends into chaos, revealing the dark aspects of human nature. The play explores civilisation vs. savagery, the loss of innocence, the nature of power, and the inherent evil within humanity. This production will offer a fresh perspective on these themes by having all characters portrayed by women. CHARACTERS Ralph: Elected leader among the group. Charismatic, idealistic, and determined to maintain order and civility. Jack: Antagonist. Head of the choir group turned hunters. Ruthless, authoritarian, and consumed by a desire for power. Piggy: Loyal friend. Intelligent, resourceful, and physically vulnerable. Often ridiculed by the others. Note: This character is remarked as being robust in build. Roger: Right-hand, sadistic, and violent. Revels in causing pain and chaos. Sam: One of the twins. Loyal to Ralph. Easily influenced by stronger personalities. Eric: The other twin. Closely bonded to Sam. Often indistinguishable from their sibling. Simon: Quiet, introspective. Deep connection to nature and spirituality. Represents goodness and purity. Henry: One of the younger ones. Innocent and unsuspecting, often caught up in the older ones' antics. Maurice: One of Jack's followers. Initially playful and mischievous but becomes increasingly savage. Bill: Another member of Jack's group. Strong and aggressive, eager to hunt and exert dominance. Perceval: One of the younger ones. Often lost in his own world, innocent and naive. Peter: Represents the vulnerability of the youngest ones. Easily scared and dependent on the older ones for protection. Robert: Another member of Jack's group. Quick to follow orders and exhibit aggressive behaviour. Naval Officer: Represents rescue and the outside world. Discovers the group at the end of the play. REHEARSAL INFORMATION Tuesdays and Thursdays: 7pm - 10pm Sundays: 2pm - 6pm Closer to the show opening, we will likely start at 6:30pm, and a few all-day Sundays as opening night approaches. Rehearsals will start on Thursday, 20th June 2024. The season runs from 31st August to 21st September 2024, with shows on Friday and Saturday nights and Sunday matinees. AUDITION INFORMATION Audition Forms Due: Midnight, 14 June 2024 Audition Date: Sunday, 16 June 2024, 10am - 5pm Location: Gold Coast Little Theatre, 21a Scarborough St, Southport (Behind the Westpac Bank building) Callbacks: Tuesday, 18 June 2024, 7pm How to Register Please register your audition through the form on the Gold Coast Little Theatre website. For your audition, please prepare a short monologue of your choosing from the provided list in the audition pack. We will email you with your audition slot. You can also get familiar with callback materials using the provided links. Contact Information If you have any questions, please email us at lordoftheflies@gclt.com.au. For further details and to download the audition pack, visit the following links: Audition Pack Audition Registration Form

ABOUT THE PRODUCING TEAM Riley Cope and Marina de Jager are teaming up again to bring this cult musical to the Caloundra Events Centre this Halloween. With past productions including Young Frankenstein, Beauty and the Beast, Aladdin, and Oliver, they have collaborated on numerous musicals over the years on the Sunshine Coast. Join Riley and Marina as they bring Westerburg High School to life this Halloween. This is a community-driven project and will be a voluntary performance opportunity. ABOUT THE SHOW Heathers: The Musical is a captivating adaptation of the beloved late 1980s cult film. Set in the fictional Westerberg High School, the story follows Veronica Sawyer as she navigates the treacherous social hierarchy dominated by the ruthless clique of popular girls, the Heathers. Veronica's journey intertwines with that of the rebellious outsider JD, leading them on a mission to confront bullies within their school. However, their actions quickly spiral out of control, leading to dire consequences. Through catchy tunes and sharp humour, the musical explores themes of adolescent turmoil, peer influence, and the search for belonging. KEY DATES Audition Application Due: Friday, 6 July 2024 Auditions - Leads: Saturday, 13 July 2024 from 9.30am - 4.30pm Auditions - Ensemble: Sunday, 14 July 2024 from 9.30am - 10.30am Callbacks: Sunday, 14 July 2024 from 1.00pm - 3.00pm Rehearsals: From 4 August 2024 to 28 October 2024 on Thursday nights from 6.30pm - 9.00pm and Sundays from 2.00pm - 6.00pm, and closer to Production from 10.00am - 6.00pm in Mountain Creek. Note: You may not be required for all rehearsals. A full rehearsal schedule will be provided at the time of casting. Performances: Preview: Tuesday, 29 October 2024 / Wednesday, 30 October 2024 (Dependent on sales and final number of performances) Thursday, 31 October 2024 at 7pm Friday, 1 November 2024 at 7pm Saturday, 2 November 2024 at 2.00pm and 7pm Sunday, 3 November 2024 at 1pm and 6pm (Dependent on sales and final number of performances) AUDITION INFORMATION We ask that all auditionees attend both a singing/acting audition and a dance audition. Please note this will require booking two audition slots. Performers must be 18+ when applying and have access to transport. We strongly encourage BIPOC performers and people of diverse backgrounds to apply. We welcome anyone to audition for any role. Heathers is a dark comedy that delves into sensitive topics such as sexuality, mental health, murder, and suicide, often with a touch of humour. While we believe these themes are important reflections of real life in art, we acknowledge that they may be triggering for some individuals. Rest assured, the production of Heathers will be conducted in a safe and controlled manner, with sensitivity towards the material. However, if you have any concerns about the aforementioned elements while auditioning or being offered a role, please feel free to discuss them with the production team before making any commitments. Leads Audition Schedule: Saturday, 13 July 2024 9.30am - 11.30am: Individual Lead Singing/Acting Auditions 11.30am - 12.15pm: Dance Audition 1.00pm - 2.30pm: Individual Lead Singing/Acting Auditions 2.30pm - 3.15pm: Dance Audition 3.30pm - 4.30pm: Individual Lead Singing/Acting Auditions 4.30pm - 5.15pm: Dance Audition Ensemble Audition Schedule: Sunday, 14 July 2024 9.30am - 12.00pm: Group Singing, Acting and Dancing Auditions CHARACTER SUMMARY Read the Character Summary below to pick a character that best suits you. Please prepare the material relevant to your character. If you are applying for multiple characters, please only pick one scene and song when preparing for your audition. LEAD CHARACTERS (All 17 years old) VERONICA SAWYER: She burns to be both cool and kind, but doesn’t know yet how to be both at the same time. Fierce sense of right and wrong, keen sense of ironic humour. Thinks she's an old soul, but she's still innocent enough to be blindsided by love/hormones (or shocked by cruelty). Voice: High belting required, up to Ab. Must have dynamic and stylistic range. Click here for audition pieces. JD: He is darkly charismatic, compelling, attractive, charming on the outside yet very damaged on the inside. Keen smarts and strong inventive comedy. Voice: Strong, confident belt to at least an Ab, A preferable; wide emotional range. Click here for audition pieces. HEATHER CHANDLER: Richest, hottest, most magnetic, cruellest girl in town. Relishes power and wields it like a scalpel – no fear, no patience, no mercy. Voice: Strong belt to F or higher preferred. Mezzo for chorus. Click here for audition pieces. HEATHER MCNAMARA: Beautiful, innocent, stupid, can be mean on command if Heather Chandler orders it, but actually quite vulnerable and fearful. Voice: Strong belt to Db, D preferred. Soprano for chorus. Click here for audition pieces. HEATHER DUKE: Whipping-girl of the 3 Heathers. When she finally becomes Queen Bee she wields power like a bulldozer. Voice: Strong belt to C, D preferred. Alto for chorus. Click here for audition pieces. MARTHA DUNNSTOCK: Nicknamed “Martha Dumptruck”, the opposite of hot, confident, or popular. Huge and beautiful soul, optimistic even in the face of rejection. Voice: Strong belt to E or F, wide vocal expression. Click here for audition pieces. RAM SWEENEY: Linebacker. Big, insensitive to the feelings of others, ruled by appetites. Voice: Strong Baritone, belt to G, some Falsetto useful. Click here for audition pieces. KURT KELLY: Quarterback and Captain. Big, chiselled, rude, entitled, cocky. Mean, thinks he’s the brains in the friendship with Ram. Voice: Tenor, strong belt to Ab or A, some Falsetto. Click here for audition pieces. POTENTIAL DOUBLE CHARACTERS Ram’s Dad, Big Bud Dean, and Coach Ripper These roles may be played by one actor or split among multiple actors at the discretion of the Creative Team. RAM’S DAD: Former football player turned suburban Dad, has never outgrown his glory days in high school. Hates weakness, but capable of soul-searching when tragedy strikes. Voice: Baritone/Tenor – power Country/Gospel belt to Ab, higher welcome. BIG BUD DEAN: JD’s single Dad. Big jolly personality that barely conceals the enormous rage bubbling just below the surface. Quite possibly a serial bomber. Voice: Baritone/Tenor – power Country/Gospel belt to Ab, higher welcome. COACH RIPPER: Stalwart, man’s man; quick to defend his players. Voice: Baritone/Tenor – power Country/Gospel belt to Ab, higher welcome. Click here for audition pieces. Ms Fleming and Veronica’s Mom These roles may be played by one actor or split among multiple actors at the discretion of the Creative Team. MS. FLEMING: Ageing hippie teacher, still yearning for the day the Age of Aquarius reaches Ohio. Hungry for the spotlight, resentful of entitled youth. Voice: Great belt up to C, higher always welcome. VERONICA’S MOM: Easygoing, distant, yet capable of laying down the law. Voice: Great belt up to C, higher always welcome. Click here for audition pieces. Kurt’s Dad, Veronica’s Dad, and Principal Gowan These roles may be played by one actor or split among multiple actors at the discretion of the Creative Team. KURT’S DAD: Straight-laced, very conservative, also a former football player. A simple guy, not book smart, you’d be happy to share a beer with him. Voice: Strong Baritone/Tenor -- power Country/Gospel belt to G, even higher is better. VERONICA’S DAD: Easygoing and distant. Voice: Strong Baritone/Tenor -- power Country/Gospel belt to G, even higher is better. PRINCIPAL GOWAN: Rumpled, burned out, hates conflict. Voice: Any voice type. Click here for audition pieces. ENSEMBLE We are looking for a small yet strong ensemble to help bring the show to life! As an integral member of the ensemble, you will sing, dance and act your way through the show as multiple characters in fabulous costumes. We also have featured ensemble roles available. All vocal types are welcome. Click here for the audition pieces. AUDITION APPLICATION To apply for an audition, please book and complete the Application Form by COB on Saturday, 6 July. Please note that you will be required to upload your performance CV and headshot upon receiving the confirmation email. A confirmation email from Trybooking will be sent after the completion of this booking. Further communication from the Heathers team will be sent from copeanddejagerpresents@gmail.com. For the full audition pack and more details, please refer to the provided Audition Pack.

Audition Information: Previous Applicants and Performers: If you have previously applied or performed with ANATM, you are already in our talent pool and do not need to reapply. However, if you have new videos or material to showcase, please email us! New Artists: For those interested in joining our talent portfolio for this event, please email us at brisnightatthemusicals@gmail.com for submission details. Event Details: Event Name: A Night At The Musicals - Jukebox Edition Venue: The Ron Hurley Theatre Dates: September 26th, 27th, and 28th, 2024

Audition Date & Time: Date: Saturday, June 9, 2024 Time: 1:00pm Venue: Windsor School of Arts, 381 Lutwyche Rd, Windsor Callbacks: Date: Thursday, June 13, 2024 Time: 6:00pm Production Details: Title: The Book of Will Playwright: Lauren Gunderson Directed by: Julie Bray Produced by: Jason Sharland Venue: Windsor School of Arts Hall, 381 Lutwyche Rd, Windsor, QLD 4030 Performance Dates: October 19, 20, 25, 26, 27, November 1, 2, 3, 8, 9 Rehearsal Schedule, starting July 29, 2024 Sunday afternoons, 1:30-4:30pm Mondays & Thursdays evenings, 6:30-9:30pm Character Descriptions & Ages: Henry Condell (40s): Feisty, hopeful, charismatic, and confident. A close friend of Shakespeare and an actor in the King’s Men. John Heminges (50): Serious and reasonable, also a friend of Shakespeare and the financial manager of the King’s Men. He owns the Globe Tap House. Note: This role has been precast. Richard Burbage (50s): A seasoned and renowned stage actor, loud, proud, and famous across England. Elizabeth Condell (30s): Savvy, fun, and intelligent. Henry Condell's wife and a good friend. Alice Heminges (32): John Heminges' daughter and an alewife. She is sociable, knows everyone, and enjoys hanging out with men. Rebecca Heminges (50): John Heminges' wife, strong, and busy managing their grocery business. She loves her family deeply. Ben Jonson (47): Poet laureate of England, friend, and sometimes rival of Shakespeare. He is comically pompous, playfully arrogant, and surprisingly emotional. Ed Knight (30s): Acts as the "stage manager" for the King’s Men. Serious and particular about his work. Ralph Crane (30): Humble scrivener for the King’s Men. He is quiet, introverted, but confident in his work. William Jaggard (51): A successful yet shady publisher of books, plays, and playbills. Confident, experienced, and willing to do what it takes to succeed. Isaac Jaggard (24): William Jaggard's son and heir to the business. Sensitive and artistic at heart. Marcus (20): Printer’s apprentice at the Jaggard print shop. Nosy but honest. Compositor (20): Works for Jaggard, arranging type for printing. Emilia Bassano Lanier (50): A fiery Italian feminist and poet, known for her independent spirit and love for Shakespeare. Sir Edward Dering (60): A book and theatre enthusiast. Anne Hathaway Shakespeare (60): Shakespeare's ailing wife, strong-willed and classy. Susannah Shakespeare (30): Daughter of Shakespeare, serious and well-behaved. Boy Hamlet:  A young actor. Two Barmen: Drunk ruffians. Crier: A newsboy. Fruit Seller: Seen in the streets/marketplace scenes. Bernardo, Francisco, Horatio, Marcellus: Various minor characters integral to the storytelling. How to Audition: Download the Audition pack PDF for character descriptions and rehearsal schedule. Fill out the Audition registration form. Prepare two audition pieces: one comedy and one Shakespearean excerpt (1-2 minutes each). Email headshot and acting CV to production@growltheatre.org.au. Important Notes: Age guidelines are for playing age, not actor's actual age. Neutral accents required for all characters. Diversity in casting encouraged. Familiarity with the First Folio publication story advantageous. Understudies may be selected from the main cast. Synopsis of The Book of Will: The play explores the efforts of Shakespeare's friends to compile his works into the First Folio after his death, set amidst the lively backdrop of Elizabethan London. For detailed information and to register for auditions, visit Growl Theatre's website and access the Audition pack and Audition registration form. Join us in bringing this historic tale to life on stage!

Key Dates: Auditions: May 18 - 19, 2024 Intensive Weekend: June 1 - 2, 2024 Intensive Rehearsal Weeks: June 24 - 28 and July 1 - 5, 2024 Performances: July 5 - 6, 2024 Creative Team: Director: Liam J. Kirkpatrick Musical Director: Emma Erdis Choreographer: Tamara Long Age Range: Performers aged 8-18 years About the Show: Based on the popular book series, the musical follows the adventures of preteen Greg Heffley as he navigates middle school and schemes his way to popularity. Greg encounters obstacles like his dorky friend Rowley, peculiar neighbour Fregley, and legendary playground cheese. How to Audition: Audition Form: Complete the form online at Audition Form. Ensure that a parent or guardian consents to your audition. Prepare Audition Materials: Acting: Choose and practice a relevant audition side (script excerpt) provided in the audition pack (Audition Sides). Singing: Prepare 90 seconds of a Disney song that suits your voice. Bring backing music on a phone or USB. Dance: Wear comfortable clothes and be prepared to learn a short routine during the audition. Attend Audition: Choose one of the audition days (May 18 or May 19) and attend your scheduled session. The audition will consist of acting, singing, and dancing components. Callbacks: Some roles may require callbacks on the afternoon of May 19. Registration Fee: There is a show cost of $300 for all performers, with potential scholarships available for families facing financial hardships. Characters: Greg Heffley: First-year middle schooler with a likeable yet scheming personality. Greg is both cocky and insecure, obsessed with achieving popularity. Rowley Jefferson: Greg's loveable and innocent best friend. Rowley finds joy in almost any situation and is blindly devoted to Greg. Claire: A popular girl at Greg's school who shares the legend of the cheese touch with Greg. Chirag Gupta: Greg's friend and one of the smallest kids in school. Chirag has a fast rap number in the show. Specifically seeks a BIPOC (Black, Indigenous, Person of Color) performer for this role. Patty Farrell: Greg's nemesis who excels at everything and is determined to outshine Greg. Fregley: A peculiar child who lives near Greg. Fregley is obsessed with gross things like scabs, blisters, and bugs. Joshie: A European popstar and Rowley's idol. Joshie has a song called "Animal Heart" in the show. Mom & Dad (Heffley Parents): Greg's well-meaning parents who often unintentionally annoy him with their quirks. Rodrick Heffley: Greg's older brother who is a high school student and drummer in a metal band. Manny Heffley: Greg's toddler brother who adds comedic moments to the family dynamic. C an be played by a performer up to age 10. Bryce Anderson: The most popular boy in school who sits at the top of the social ladder. Ensemble Roles: Various roles including other students, teachers, cartoon characters, bullies, and friends of Patty Farrell. Don't hesitate to reach out to Beenleigh Theatre Group or visit their website (Beenleigh Theatre Group) for more information and to register for auditions.

Join us for auditions for "Speaking in Tongues," a gripping drama exploring betrayal, lust, and longing, directed by Heidi Gledhill and produced by Ad Astra Theatre Company. AUDITIONS: Date: Saturday, 1st June, 10 AM – 3 PM Callbacks: Monday 2nd/Tuesday 3rd June, 6 PM – 9 PM To Apply: Email creatives@adastracreativity.com with your current CV (Word or Google Doc) and a RECENT colour headshot. Specify the role(s) you are auditioning for. VENUE: Ad Astra Theatre, 57 Misterton St, Fortitude Valley PERFORMANCE SEASON: 5th September - 28th September 2024 PERFORMANCE TIMES: Thurs, Fri & Sat 7:30 PM, Sun Matinees 2 PM REHEARSALS: Two weeknights 7-10 PM and one weekend day 9-5 (exact schedule to be confirmed) PAYMENT: Co-op production - actors receive a share of ticket sales after expenses. ABOUT THE PLAY: Nine lives are woven together in Andrew Bovell’s mystery-drama, Speaking in Tongues. Leon is married to Sonja; Jane is married to Pete, and one night, each spouse chances upon the other’s. Tandemly, they wind up in seedy motel rooms. While Pete and Sonja resist the one-night stand; Leon and Jane do not. Neil, a lonely man, pines for Sarah, the love of his life, who moved on decades ago. John’s wife Valerie goes missing and her stiletto is last seen in Nick’s car. The tension of love, marriage, infidelity, and trust is navigated in this tense, dramatic mystery. A complex, non-linear structure with rich language makes this play a challenging gem for experienced actors. CHARACTER BREAKDOWN: The play features a cast of four actors, each portraying two or three characters across the three parts of the production: JANE/VALERIE LEON/NICK SONJA/SARAH PETE/NEIL/JOHN - this role has already been cast LEON, Sonja's husband SONJA, Leon's wife JANE, Pete's wife, Nick's neighbour PETE, Jane's husband, Nick's neighbour VALERIE, John's wife, Sarah's therapist SARAH, Valerie's client, Neil's ex-girlfriend NICK, Jane's and Pete's neighbour NEIL, Sarah's ex-boyfriend JOHN, Valerie's husband CREATIVE TEAM: Director - Heidi Gledhill Creative Director - Fiona Kennedy Producer - Gregory Wilken

Phoenix Ensemble brings Stephen King's classic tale to life in a haunting and emotionally charged performance of "Carrie - The Musical." Set in 2009 Chamberlain, Maine, the musical explores themes of radicalised religion, power dynamics, and the devastating consequences of bullying. My evening kicked off with their signature cocktail, the delicious 'Bloody Carrie,’ setting the mood for the show. Directed by Joshua Brandon in his directorial debut, "Carrie" unfolds with striking intensity that reverberates throughout the intimate theatre space. Victoria Lancaster's choreography complements his creative vision, drawing the audience into the world of Chamberlain High. The opening number in both Act 1 and Act 2 sets a (misleading) joyful tone with dynamic movements and energy. Under the guidance of Hayley Marsh, the ensemble's vocal talent resonates beautifully throughout the theatre. The tech team created a balanced sound, allowing the band to skilfully complement the cast's strong vocal performances. Harley Roy truly stands out as the MVP of the production, taking on multiple roles of Stage Manager, Set Designer, Set Constructor, and Costume Designer. Roy's multifaceted involvement ensured a cohesive and visually captivating presentation. The set design makes use of every aspect of the theatre, from the detailed gym floor to the bloodied walls and clever props that heighten the tension. At the heart of the production, we have Chelsea Sales giving a brilliant performance in the challenging role of Carrie White. Her portrayal feels authentic and emotionally charged, masterfully capturing Carrie's transformation from a timid outcast to a powerful force. Her crystal-clear vocals and impressive belting abilities shine in solos "Carrie" and "Why Not Me" as she truly personifies the complexity of the character. Sales’ acting is nuanced, with every emotion vividly expressed through her eyes, from fleeting moments of joy to profound fear to intense hatred. Sales brings a compelling vulnerability to Carrie, making her both pitiful and formidable in the eyes of the audience. Carly Quinn's portrayal of Margaret White, Carrie's controlling and fearful mother, is hauntingly authentic. Quinn's outstanding vocals and gripping acting in emotionally charged pieces like "When There's No One" powerfully convey the emotional turmoil of her character, culminating in (SPOILER) a heartbreaking climax as she decides to kill Carrie. Sophie Mason's portrayal of Sue Snell is equally compelling, navigating her character's evolution from harsh bully to a remorseful and selfless individual and eventual (SPOILER) lone survivor of the massacre. Her gentle vocals in the touching "Once You See" really hit home with their emotional depth. Lisa Alsop's portrayal of Ms. Gardner is a perfect balance of toughness and compassion as a guiding mentor for Carrie. Alsop's heartfelt rendition of "Unsuspecting Hearts" showcases her exceptional vocal talents and the character's empathy as she blends beautifully with Sales’ voice. Storm Fraser commands the stage as Chris Hargensen; a complex antagonist with powerful vocal performances, especially in the upbeat "The World According to Chris." Fraser captures the character's dual nature, drawing the audience in with a mix of admiration and disdain, much like the iconic mean girls we all love to hate such as Regina George or Heather Chandler. And I can’t forget Macca Kelly, who plays the devious Billy Nolan, truly embodying the hateful character through excellent stage presence. Kyle Armstrong's portrayal of Tommy Ross shines through his amazing vocal talents, a sentiment echoed by friends who have seen him perform. I had the pleasure of watching Dugald Lowis, who understudies Tommy, and I was touched by their performance of “Dreamer in Disguise.” Lowis does a fantastic job at capturing the kind and sincere essence of the character, which makes his eventual tragic fate even more heart-wrenching. The musical numbers in "Carrie" are undeniably brilliant. "I Remember How Those Boys Could Dance" incorporated contemporary dancers behind a backlit sheet to add a visually stunning layer of artistry. "Do Me a Favor" really showcased the talent and cohesion of the entire cast, and the Act 1 Finale with Carrie's confrontation with her mother was truly electrifying and memorable. The climactic destruction scene is a tour de force of theatrical craftsmanship. It's filled with intense fight choreography, atmospheric lighting, alarming special effects, and plenty of blood to really make the haunting scene come to life. (SPOILER) The emotional depth in the portrayals of Carrie and Margaret’s deaths really leave a profound impression. Overall, Phoenix Ensemble's production of "Carrie" is a must-see for theatre enthusiasts who enjoy a thought-provoking experience. The entire ensemble and crew really kill in every aspect of the production, pun intended.

A heartfelt exploration of adolescent challenges wrapped up in an original musical! I recently had the pleasure of attending the BTG's production of "Mayhem in June," a heartfelt musical written and directed by Nicholas Hargreaves. This original production, featuring a cast of six budding young actors, explores the turbulent world of high school dynamics against the backdrop of the game of chess. The story follows Peter as he navigates his way through Grade 11 at a new school, aiming to climb from chess captain to choir leader. Throughout the school year, we witness the ups and downs of teenage life - from unrequited crushes, friendship conflicts, misinformation, and self-discovery. The simple set design with scattered chess pieces and chess-themed costumes cleverly reflected the musical’s themes of strategy and interpersonal dynamics. One of the highlights of "Mayhem in June" is the incredible original score. As a recent high school graduate himself, Hargreaves has shown impressive talent in crafting memorable tunes with intricate orchestral arrangements. While the vocal performances could have been a bit more polished with extra rehearsal time to refine articulation and ensure confidence in delivery, the cast did an admirable job given their age and experience levels. I also appreciated that the orchestra was placed on a raised platform at the back of the stage, allowing the audience to fully appreciate their skills. Lead actor Harrison Port gave a captivating performance as Peter by truly embodying the character's mix of social anxiety, people-pleasing tendencies, and struggle with decision-making. The number “I Wanna Be Somebody" that appears repeatedly throughout the show perfectly sets the tone for Peter's character development, conveying his introspective nature and his desire to leave a lasting impact in his new surroundings. A few songs really stood out to me, like the clever “Expectations” duet and the catchy “Eight Years Old” tune that even taught me a thing or two about chess! “The Crab”, the chess-competition group number, emerged as a standout with its captivating energy and creative execution. While the lyrical content was brilliant, there were challenges where clarity was compromised and plot points obscured. While the layered vocals in pivotal moments, like "Did You Hear?” added the desired angst to the scene, they sometimes made it hard to follow the storyline – for example, the accident was unclear to me until the actor appeared onstage with a cast on their arm. Rowan Eastgate as Tristan was the standout vocal performer of the show for me. His powerful rendition of "Trick of the Mind" demonstrated Eastgate's impressive vocal tone and developing stage presence. Cody Hargreaves, in the role of Cam, gave a brilliant acting performance in his portrayal of a complex and troubled teenager; his heightened emotions palpable through nuanced acting skills; plus a terrific performance in "Unrequited Amends”. Zara Lassey was equally impressive, showing off her versatility in transitioning between different roles and vocal styles. Her bluesy solo as Cam's mother in “Tough” was a distinctive moment that showcased her upper vocal range and natural stage presence. Anika Jocumsen and Harrison Port really excelled together as Mal and Peter in some beautiful duets. The song "Choices" poignantly portrayed the shared inner struggles that their characters were facing, and their duet in Act 2 “I Wish I Could Tell You” was powerful in exploring the unspoken feelings and complexities of their relationship. Kira's solo, "Complicated," performed by Brooke Garwell is such a well-written piece with so much potential. I really think a studio recording of the soundtrack would truly enhance the appreciation of these songs, although I know that is not always be possible. But I can't help but wish I could listen to them again! “Mayhem in June" is a promising musical debut that really highlights Nicholas Hargreaves' budding talent as both a composer and storyteller. Although there were a few vocal challenges and technical glitches with the projections, the musical offers a relatable story that will definitely connect with high schoolers and musical theatre fans. It's clear that this show is a testament to the creative skills of its young creators and performers. With a bit more polishing, this musical has the potential to really shine. We can't wait to see what future productions come from this talented young team!

Audition Dates: June 7th - June 10th, 2024 Call Backs: Monday 10th June, 2024 or Wednesday 12th June, 2024 at 7:30pm Venue: Wynnum State High School, Peel Street, Manly Minimum Age: 16 years AUDITION PREPARATION Principal Audition Details: Private individual auditions for vocal ability and reading skills (10-minute slots) Prepare two contrasting musical theatre songs (32 bars each) Accompanist available on Saturday morning (9am - 12:30pm) Sheet music required or bring backing tracks and device with aux cable Script excerpt provided (to be performed within audition) Colour headshot and completed audition form required All principals must attend a dance audition session Ensemble Auditions (Basic Movement and Dance Movement): Saturday, June 8th, 2014 (1pm - 3pm for Basic Movement, 2pm - 4:45pm for Dance Movement) Group auditions with taught song excerpt and potential solo vocal line Movement videos provided for practice Colour headshot and completed audition form required PRODUCTION INFORMATION Show Synopsis: Set in 1959, Curtains is a musical comedy that unfolds backstage at Boston's Colonial Theatre. When the leading lady mysteriously dies on stage, local detective Lieutenant Frank Cioffi steps in to investigate. As the show must go on, the cast and crew become suspects in this brassy and bright whodunnit musical. Performance Dates: September 21 - October 5, 2024 Venue: Iona Performing Arts Centre, 85 North Road, Lindum 4178 PRINCIPAL ROLES Lieutenant Frank Cioffi (Stage age: 40s) Local Boston detective and musical theatre enthusiast. Vocal Range: A♭2 to E4 (Tenor, Baritone) Niki Harris (Stage age: 20s-early 30s) Chorus girl aspiring to Broadway, falls in love with Cioffi. Vocal Range: B3 to E5 (Soprano) Georgia Hendricks (Stage age: 30s) Songwriting team member who becomes the leading lady. Vocal Range: G3 to E5 (Mezzo-soprano) Carmen Bernstein (Stage age: 45-65) Brassy Broadway producer with strong comedic skills. Vocal Range: E♭3 to E5 (Mezzo-soprano, Alto) Aaron Fox (Stage age: 40s) Composer, charming ladies' man, separated from his wife. Vocal Range: G2 to G♭4 (Tenor, Baritone) Sidney Bernstein (Stage age: late 50s – mid 60s) Tough, self-serving producer with good comic timing. Vocal Range: Non-singer Christopher Belling (Stage age: 40-60) Flamboyant English director known for humor. Vocal Range: B2 to F4 (Baritone) Bambi Bernét (Stage age: early 20s-early 30s) Chorus performer, daughter of Carmen, skilled dancer. Vocal Range: B3 to E5 (Soprano) Daryl Grady (Stage age: 30s) Influential theatre critic. Vocal Range: Non-singer Johnny Harmon (Stage age: 40s-50s) Gruff yet lovable stage manager. Vocal Range: B2 to B♭3 (Tenor, Baritone) Oscar Shapiro (Stage age: 45-65) General manager with a business-minded approach. Vocal Range: G2 to E4 (Baritone) Bobby Pepper (Stage age: 20s to early 30s) Choreographer and lead dancer. Vocal Range: A2 to E4 (Tenor, Baritone) Jessica Cranshaw (Stage age: 30s-40s) Former Hollywood star, terrible singer/actress. Vocal Range: D4 to E5 (Mezzo-soprano) IMPORTANT DATES Information Session: May 19, 2024 @ 10am-11am Rehearsals begin: June 30, 2024 Sundays: 12pm - 5pm Mondays: 7:15pm – 10pm Wednesdays: 7:15pm - 10pm Photoshoot: Sunday 21st July, 2024 Launch Event: Sunday 28th July, 2024 Sitzprobe: Sunday 1st September, 2024 Bump–in to the Theatre: Friday 6 th September / Saturday 7 th September, 2024 Performances: September 21 - October 5, 2024 CONTACT INFORMATION Email: auditions@savoyards.com.au Website: www.savoyards.com.au PRODUCTION TEAM Director: Carolyn Latter Musical Director: Jacob Cavanough Choreographers: Ange Schoemaker and Melanie Southall NOTES All auditionees will be notified of outcomes via mobile phone or email. Rehearsals and production involvement are expected for all successful cast members. Savoyards encourages diverse applications for all roles. Casting decisions are made based on a combination of talent, suitability for roles, and availability for rehearsals and performances. For more detailed information, download the audition pack from the Savoyards website: Audition Pack

If you were looking for a night filled with surprises and outstanding talent, "A Night at the Musicals" delivered beyond expectations. The show, curated by the brilliant Sophora Cliff, took audiences on a journey through lesser-known gems and refreshing renditions of classic musical favourites. I was swept away by songs I had never encountered before, which allowed Sophora and her team to craft a production devoid of many preconceived notions. An ensemble of 18 phenomenally talented locals graced the stage with a thunderous opening number from "Songs For a New World". The vocals, oh the vocals! Each carefully-selected performer was exceptional, but a few left me utterly spellbound... Carly Wilson's rendition of "Screw Loose" from Cry Baby and Cody Arthur’s gender-bent version of “Popular” from Wicked were fantastic comedic choices to kick off the solos. They embodied their unhinged characters brilliantly. And then there was the boy band vibes during "One Knight" from Wonderland; led by the charismatic Sam Caruana and his entourage of singers. Pure entertainment! Kirra Lang, our real-life Cinderella, sang "On the Steps of the Palace" from Into the Woods, which was nothing short of angelic as she tackled a notoriously challenging song with grace and skill. Nathan Kneen's rendition of "Anthem" from Chess left a lasting impression with his masterful classical voice. It's not surprising that some friends told me they were quick to buy tickets as soon as they found out he would be singing this piece. Heidi Enechelmaier's interpretation of "Astonishing" from Little Women was a powerhouse display of passion and talent that uplifted as she embodied the headstrong character of Jo. Belinda Lewis took my breath away with her rendition of "All That Matters Now" from Finding Neverland, a powerful solo that I had the privilege of hearing for the first time that night. The trio of Sam Caruana, Henry Kafoa, and Jake Lyle captured my heart with their charming rendition of "Can’t Take My Eyes Off of You" from Jersey Boys. Their palpable joy and stunning harmonies left me grinning. In the delightfully awkward "Sing but Don't Tell" from Island Song, Sophora Cliff's performance was an absolute riot. She had a live pianist as her muse for the song, which was just the perfect touch. And her duet with Jessica Papst was also a highlight, mixing vulnerability and musical finesse beautifully. I have to mention the uproarious performance of "Can't Hang" from Muriel's Wedding featuring Tiffany Payne, Carly Wilson, Kyla Price, and Kirra Lang. The Aussie accent, the humour, the talent - sheer perfection. I seriously need to see them perform the entire musical now! Plus, Liam O'Byrne's gender-bent version of "Don't Lose Your Head" from Six was a standout, with Liam's impeccable vocals and showmanship stealing the spotlight and his final riff leaving me gobsmacked. Alex Watson's brilliant rendition of "You'll Be Back" from Hamilton was not only technically impeccable but also filled with personality. Alex's interpretation breathed new life into the crazy character, with his deliberate and meticulous approach to the song. Every gesture, every expression, and every vocal nuance was carefully crafted to maximise comedic effect and capture the essence of King George's pompous yet endearing demeanour. Kyla Price's rendition of "Burn" from Hamilton was nothing short of breathtaking. Her performance was so intense and powerful that it felt like we were watching the professional production! The medley from Les Miserables featured hauntingly beautiful harmonies that sent shivers down the spine. The arrangement was particularly striking, transforming a well-known solo “Bring Him Home”, into a captivating quartet that added new depth and emotion to the familiar melodies. Jake Lyle's performance of the final stanza, with its poignant plea of "If I die... Let me die!,” was filled with heart-wrenching emotion and sincerity. What made this show truly exceptional to me was its fresh approach to familiar tunes, adding new harmonies and inventive mashups that kept the audience engaged and surprised, as seen in the Andrew Lloyd Webber trio. Sophora and her team curated a show that struck a perfect balance between solos, small groups, and big ensemble numbers, culminating in a night of pure musical magic. This two-show run, unsurprisingly, sold out in record time. I can only hope they extend the season next time, as this level of talent deserves to be seen by all. This production was a testament to the wealth of talent in our local musical community and left me eagerly awaiting their next spectacular instalment, “A Night at the Jukebox Musicals,” set to grace us with its presence in September 2024.