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What sparked your interest in theatre? Nick: My initial exposure to musical theatre was through Pure Imagination Theatre Productions, a children’s theatre company run by the incredible Emily Bernoth. They transformed musicals into something enjoyable that sparked my excitement; which lead me to join drama classes and turn in, my passion for theatre. I have such incredibly fond memories of that group, and even began writing my first musical after promising Emily I wouldn’t leave until we had produced a show that written by me. The show I wrote was called 'The Box'; it was rubbish and I never shared it. Although 'Camp Fear' showed improvement, I never followed through with it. Finally, now 'Mayhem in June' is a project that I am genuinely proud of and beyond excited to finally share! The fact that you started writing your own musicals at such a young age shows a lot of initiative and creativity. 'Mayhem in June' sounds like an interesting project, and I'm curious to know more about it! How do you decide which projects to pursue, such as your acting role in ‘Shakespeare in Love’ or writing musicals like ‘Mayhem in June’? Nick: Whatever project you do is going to be a huge time commitment, so I don’t do anything unless I’m passionate about at least one aspect of it. With 'Shakespeare in Love', I was drawn to working alongside the other artists involved and the prospect of portraying Shakespeare; which was highly appealing to a Shakespeare nerd like me. For 'Mayhem in June', it has been all about the message. The show is about the toxic effect that conformity can have on young people—an issue close to my heart. Without this meaningful theme, it would have been challenging to justify the extensive time and effort I have invested in this production. Your dedication-based on the artists involved or the important themes—speaks volumes about your commitment. How do you navigate the creative process when balancing acting and writing? Nick: There's always a moment in writing or acting when your understanding of a character finally clicks, and you realise who they are. The challenge, however, is that understanding a character doesn't automatically translate into how you portray them, because characters do not exist in the abstract. They evolve with each scene, and in 'Mayhem in June', some characters appear within re-enactments narrated by biased storytellers, adding another layer of complexity. So, when considering all these factors, the most important thing is to assess how each scene contributes to the overall show. For instance, you might grapple with a character's condescending nature, which they conceal. But if the scene sets up a song about their frustration with condescension, you prioritise conveying that theme. Building on this, could you share some of the influences or inspirations behind 'Mayhem in June'? Are there specific themes or personal experiences that have shaped the story? Nick: 'Mayhem in June' is the culmination of experiences shared by myself and many people around me over the years. At its core, it serves as a case study of the toxic customs ingrained in high school culture. During my time in high school-as many young people will probably relate-I discovered that 'truth' often takes a back seat to collective beliefs and consensus. It can be confronting when you feel pressured to go along with stories that don't align with your beliefs. Through this show, I aim to illustrate the liberating experience of breaking free from these societal pressures and letting those cares go. I'm curious about your approach to translating these themes into songs. How do you draw inspiration and translate your ideas into the musical elements of your production? Nick: In my experience, songs often begin with either a lyric or a piano motif. Throughout writing 'Mayhem in June', I initially started with piano ideas, but recently, I've shifted towards beginning with lyrics. If you're unsure where to start when writing a song, I recommend starting with lyrics. Words provide a natural rhythm with stressed and unstressed syllables, which can then be transformed into a melody. What advice would you give to those looking to pursue creative projects like you have done or embark on their own theatrical endeavours? How can they navigate the challenges and opportunities you've encountered in your journey? Nick: I wouldn't claim that I've fully broken into the industry yet, but my best advice for anyone is to simply start, no matter the perceived quality or level. Too often, aspiring writers hesitate to begin because they think they're not yet good enough yet. The thing is, you can study, network, and plan all you want, but the best way to improve is by actively engaging in the craft. If you're interested in acting, audition for numerous shows and volunteer your time. If you're a writer, consider sharing your work with friends and family for feedback. Now, the biggest problem here is is the substantial time commitment required, and there’s no real solution for that. Currently, I'm juggling 12 to 14-hour days between pre-service teaching and preparing for 'Mayhem in June', which is a good example of poor time management that I would not recommend. Composing music, in particular, can be a time-consuming process; crafting just eight bars of music can sometimes take hours. Nevertheless, if you love what you’re doing, you'll find ways to integrate it into your life, even as a hobby. So keeping that in mind, set yourself (achievable) deadlines: “I will have Act 1 complete by May 1st”. I never actually reach those deadlines, but they can serve as a motivating force to get you started. And I get close! Your insights into starting creative projects are incredibly valuable, especially as someone who understands the demands of teaching firsthand. What do you enjoy most about working in the theatre industry and what keeps you motivated to continue creating and performing? Nick: I don’t believe live performance is a medium that will ever fade away. Especially during the pandemic, we realised that audiences need that in-person connection, and that is something truly special. When you're in the audience and witness something special happening onstage, you're part of that moment. My main motivator to continue making theatre is to create those moments, whether I'm on stage or behind the scenes. Looking forward, what aspirations or goals do you have? Are there specific projects or collaborations that you hope to pursue in the future? Nick: I believe I have improved a lot at writing musicals since I started, and I'm committed to further improvement in that regard. I would also love to collaborate with some other artists, as it pushes me out of my comfort zone and fosters new creative perspectives. As for future projects, during Easter weekend, I was fortunate enough to have some theatre friends willing to read through the first draft of my next show, 'Flight!', which explores the stories of notable figures from aviation history through a musical anthology. So keep an eye out for updates on this over the next 12 months! I want to extend my gratitude to Stage Buzz for this opportunity — thank you so much for doing this interview, it's really greatly appreciated! Catch the world premiere of 'Mayhem in June' on May 3-4 at the Crete Street Theatre. Secure your tickets now at https://www.trybooking.com/CPSES

Audition Submissions Due Date: 18 May 2024 (By midnight) Audition Date: Sunday 19 May 2024, 9am - 12pm Venue: New Farm Park Performance Dates: 30 August, 31 August & 1 September, 2024 About the Show: "Shakespeare in Bloom" presents William Shakespeare's beloved comedy, A Midsummer Night's Dream, in a magical adaptation set in New Farm Park. Join us for a streamlined rendition combining Shakespeare's wit with modern colloquial language, contemporary songs, and captivating performances under the stars. Creative Team: Director: Rhona Bechaz Assistant Director: Clare Thomson Assistant Director: Hannah McNamara Vocal Director: Emma Parkinson Costume Designer: Lachlan Hall Band Director: Thaleia Fogarty Principal Acting Roles: Puck Acting Role - Flexible Gender/Age Mischief maker, narrator, fairy/sprite, Oberon’s confidant. Requires overwhelming charisma and ease with audience interaction. Titania Acting Role - Flexible Gender/Age Ethereal Queen of the Fairies, embodying grace, strength, and confidence. Oberon Acting Role - Flexible Gender/Age Proud King of the Fairies, schemes to trick Titania due to jealousy. Requires commanding stage presence and resonant voice. Peter Quince Acting Role - Flexible Gender/Age Leader of the troupe of mechanicals, patient and determined. Nick Bottom Acting Role - Flexible Gender/Age Arrogant and boastful, turned into an ass, providing comedic relief. Helena Acting Role - Female presenting/Flexible Age Tall, graceful, and clumsy emotional mess, deeply infatuated with Demetrius. Requires physical comedy skills. Hermia Acting Role - Female presenting/Flexible Age Headstrong, confident, and purposeful, in love with Lysander. High energy and direct personality. Lysander Acting Role - Flexible Gender/Age Gentle and dreamy lover, besotted with Hermia. Sarcastic, witty, and clever. Demetrius Acting Role - Male presenting/Flexible Age Slightly arrogant, starts as a player but experiences character growth. Requires fight scenes and physical comedy. Ensemble Roles: Peaseblossom, Cobweb, Mustardseed, Moth Singing & Movement Roles - Flexible Gender/Age Vocalists & fairy entourage, storytelling through song and movement. Mechanicals (Snug, Francis Flute, Tom Snout, Robin Starveling) Acting Roles - Flexible Gender/Age Comedic roles within the troupe of amateur actors. Audition Requirements: Acting Roles: Prepare a comedic Shakespearean monologue (1-3 minutes) for the workshop. Attend a one-hour workshop in the park for theatre games, monologue work, and ensemble building. Singing & Musician Roles: Sing a contemporary song demonstrating your vocal range and abilities (accompanied by backing track or instrument) - submit via the Google Form. Key Dates: Sun 19 May: Auditions Sun 16 June: First Rehearsal & Meet & Greet Tues 18 June: Headshots Sun 7 July: Sitzprobe Sun 14 July: Photos 2 Sun 4 Aug: Full Run Sun 11 Aug: Dress Run Sun 25 Aug: Tech/Dress Rehearsal Fri 30 Aug: Show 1 Sat 31 Aug: Shows 2 & 3 Sun 1 Sept: Show 4 Rehearsal Schedule: Sundays (9am-12pm) Some Tuesdays & Thursdays (7-10pm) Note: Detailed schedules will be provided post-casting. Audition Form & Details: Audition Form: Google Form Link Audition Pack: Download Audition Pack Join us for a unique interpretation of this timeless Shakespearean comedy! For more information and to register for auditions, please use the provided links. Get ready to bring the magic of A Midsummer Night's Dream to life in the heart of New Farm Park.

Audition Date: Monday 27 May 2024 @ 7.30 pm at Ipswich Little Theatre, 15 Burley Griffin Dr, Ipswich QLD Performance Season: 18 September to 5 October 2024 About the Show: Join us for "Clue On Stage," adapted from the cult classic Paramount Pictures film and Hasbro board game. It's a dark and stormy night at Boddy Manor where you'll encounter a bizarre dinner party, aliases for guests, a variety of weapons, and a host who's... well, dead. Follow the quirky characters like Scarlet, Plum, White, Green, Peacock, and Mustard as they unravel the mystery before the body count rises! Directed by: Tony Erhardt, with Assistant Director Jo Robbins Roles Available: Wadsworth: Traditional British butler, uptight and formal. Male 40 - 60yrs. Yvette: Loyal and sexy French maid. Female 20 – 40yrs. Miss Scarlet: Dry and sardonic D.C. madam. Female 30 – 50yrs. Mrs. Peacock: Wealthy, neurotic, and quick to hysteria. Female 30 - 60yrs. Mrs. White: Pale, morbid woman with a mysterious past. Female 40 - 60yrs. Colonel Mustard: Pompous military man. Male 40 - 60yrs. Professor Plum: Arrogant academic. Male 30 – 50yrs. Mr. Green: Timid and officious rule follower. Male 30- 50yrs. Ensemble Man: Plays multiple small roles. Male 30 – 60yrs. Ensemble Woman: Plays multiple small roles. Female 30 – 60yrs. Audition Information: Audition Sides: Download Audition Sides Perusal Scripts: Available upon request To Register for Auditions: Complete the form here

In the intimate setting of PIP Theatre, Passion Productions presents "35MM: A Musical Exhibition" directed by Harrison Allen. This song-cycle blends live music with visual artistry, with each of its sixteen standalone songs inspired by a photograph captured by artist Matthew Murphy. This innovative concept offers a fresh perspective from traditional theatre where we are accustomed to a linear narrative structure. Here we are treated to a different story and set of characters within each song. Once I adjust to this premise, I was rewarded with a compelling journey through various storylines, akin to a collection of short stories rather than a novel. The adaptable staging at PIP Theatre creates an immersive experience with its runway-style stage and some cabaret seating to engage the audience in the unfolding narratives. The walls adorned with strings of photographs add a gallery-like ambiance to the transformed theatre; while impeccable sound and lighting design further elevate the production's atmospheric quality. Each musical performance is complemented by a backdrop projection of the corresponding photograph. Additional contextual cues such as costumes, props, and facial expressions assist in conveying the mood and themes of each number. The vocal performances are exceptional, showcasing impressive range and versatility across the talented cast of seven. Despite minor diction issues, the singers deliver incredibly compelling solo moments and passionate group numbers that contribute to the diverse tapestry of stories reflecting themes of love, loss, humour, and introspection. Mabelle Maynard's rendition of "Crazy Town" captivates with percussive dynamism and raw energy, enhanced by intriguing visuals of random body parts that emphasise the song's surreal and chaotic nature. Maynard's performance sets a striking opening tone for the production, drawing the audience into a world where emotions run unpredictable and unrestrained. Aurélie Roque delivers a standout performance in the poignant "Leave Luanne," masterfully spinning the tale of a faithful yet scorned wife. Roque commands the stage with unwavering presence as the storyteller, surrounded by a captivated ensemble and Samantha Sherrin as Luanne. In contrast, Roque’s rendition of "The Party Goes With You" captivates with its beautiful slow ballad style, unfolding against the backdrop of a contemporary duo dance. Roque's vocal delivery infuses the stage with heartfelt emotion, drawing the audience into a poignant exploration of life's transient moments and connections. Rae Rose delivers a vocally demanding performance in "On Monday," offering a nuanced portrayal of intricate relationship dynamics through emotive delivery. Connor Clarke engages the audience in "Caralee," offering humorous storytelling that invites the audience into the character's world. The chilling closeup photograph of a doll - an interpretation of the toddler named Caralee - emphasises the character's struggles and frustrations with taking care of a child with no boundaries. “Good Lady” emerges as a formidable anthem, highlighting Tomer Dimanstein's commanding presence as a captivating protagonist. Accompanied by candlelight, "Mama Let Me In" is an emotional acapella group number that serves as a testament to vocal director Nykita O'Keeffe's artistry with stunning harmonies and precise dynamics. On the other hand, the upbeat and rebellious group song of “Why Must We Tell Them Why?” challenges conventional notions of art and purpose, with the live painting on stage adding a clever visual element. "Hemming and Hawing" explores the complexities of a crumbling marriage through a duet between Dimanstein and Rose. The actors convey anguish and emotional turmoil with compelling authenticity, allowing the audience to empathise with the characters' struggles and indecision. "The Seraph” evokes heartfelt and vulnerable emotion with spiritual undertones, complemented by Bethanie Walsh's guitar accompaniment. I highly enjoyed the remainder of the songs too, but "The Ballad of Sara Berry" is a standout group number that concludes the production with infectious passion. Roque's commanding performance as Sara Berry, a determined high school cheerleader, highlights themes of ambition and rivalry with rock-infused intensity. The song's narrative unfolds with electrifying enthusiasm, showcasing the cast's collective talent and delivering a thrilling finale. "35MM: A Musical Exhibition" is a bold and thought-provoking exploration of storytelling through music and photography. With exceptional performances, this musical exhibition dares to push boundaries, inviting audiences to appreciate the artistry of capturing profound moments in time. Now playing at PIP Theatre, Milton until 4th May Ticket Link

Audition Dates: Saturday, April 13th: 3pm-5pm Saturday, April 20th: 2pm-4pm Sunday, April 21st: 3pm-5pm Video Audition Due: Wednesday 24th April Audition Venue: Northpine Christian College Drama Room Synopsis: Embark on a cosmic journey with "Kaleidoscope" as we explore profound questions of existence. What unfolds when a crew is stranded in space, their vessel torn open by a meteor? Join us in unraveling the mysteries of life's purpose and human resilience. An opportunity for actors to delve into the depths of their being. Characters (Age range: 18+): Captain Hollis: Firm, compassionate leader Stone: Intelligent, well-trained crew member Stimson & Woode: Nervous, mentally weak Applegate: Antagonistic, sarcastic Lespere: Optimistic, with a positive outlook Barkley: Cool, collected demeanour Performance Dates: 2-4th August: Beenleigh 9-11th August: Ipswich 23-25th August: KSP Theatre, Burpengary 31st August: Northpine Christian College Rehearsals Commence: Saturday, April 27th Wednesdays: 7pm – 9pm Saturdays: 9am – 12pm *Additional rehearsals may be scheduled* Membership fee: $60/year. Membership of Introspect Theatre Company is compulsory to perform with us. Enjoy perks like exclusive workshops and smaller shows throughout the year. Book audition

An Evening on Broadway: Heros vs. Villains Auditions: Sunday, April 21st, 2024, from 9:00 AM - 11:00 AM & 12:00 - 2:00 PM Video Audition Due: Sunday, April 28th, 2024 Venue: Northpine Christian College, 29 Hughes Rd E, Dakabin QLD 4503 Details: Group auditions will be held in 2-hour slots. Wear comfortable clothing for movement. Audition Link: Register Now Show Overview: Immerse yourself in a cabaret featuring iconic characters and songs from musical theatre. Join the debate over which side is better through songs and scenes, led by two dynamic MCs. Rehearsals: Rehearsals will be on Tuesdays or Thursdays from 5:45 PM to 9:00 PM, and Sundays from 4:00 PM to 8:00 PM starting on May 12th. Performance: September 7th, 2024, at 7:00 PM Characters: Good MC Evil MC Dancers Singers - Specific characters will be decided collaboratively during rehearsals. Membership: Membership of Introspect Theatre Company is compulsory to perform with us. The membership fee for the year is $60. Becoming a member comes with amazing perks including smaller shows throughout the year, unlimited access to workshops, and more. Visit our website or social media pages to find out more. Contact Information: Website: introspecttheatreco.com.au Facebook: Introspect Theatre Company Instagram: @introspect_theatreco Phone: 0478 691 569 (Cindy) OR 0415887447 (Lachlan)

The opening performance of "Blood Brothers" by Ghostlight Theatre featured a talented local cast that navigated last-minute challenges with commendable resilience. For newcomers to this musical, “Blood Brothers" by Willy Russell delves into the lives of Mickey and Edward - twins separated at birth in 1950s Liverpool - whose contrasting upbringings lead to divergent paths in adulthood. The narrative adeptly explores themes of inequality, superstition, and violence across childhood, adolescence, and into adulthood. While the music, reflecting the 1980s with synthesisers and distinct stylistic choices, was occasionally marred by choppy backing tracks, this did not significantly detract from the overall impact. The musical navigates themes of coming of age, with songs like “Kids’ Game” depicting childhood camaraderie and evolving into more mature compositions like “That Guy,” a delightful duet between the twins that highlights their contrasting personalities. As the brothers mature, Mickey grapples with becoming a husband and father amidst unemployment, mental struggles, and criminal activities, while Edward confronts his feelings for his best friend’s wife, Linda. The standout performances were delivered by the three young leads: Benjamin Oxley as Mickey, Alexander Sakellarakis as Eddie, and Row Blackshaw as Linda. Oxley portrayed Mickey's progression from childhood leisure to adulthood turmoil with stunning authenticity, capturing the character's increasing stress and emotional intensity with impressive acting skills. His opening monologue, ‘I’m nearly eight’, perfectly captured the essence of a seven-year-old, despite the actor being a young adult. His lower-class accent and beautiful singing voice were especially notable, particularly in the touching rendition of “Long Sunday Afternoon.” Alexander Sakellarakis excelled as Eddie, delivering memorable one-liners in an accurate high-class accent. Sakellarakis demonstrated a natural ability to embody his character throughout the show, staying fully immersed with consistent facial expressions and body language. His steady, bright vocals were showcased in his incredible ballad “I’m Not Saying a Word." Row Blackshaw brought depth to Linda's character with charm, navigating her complex relationships with the twins with emotional subtlety. Claire Yorston's portrayal of Mrs. Lyons showcased a sweet singing voice and divine costumes. She effectively conveyed Mrs. Lyons' descent into paranoia and madness in this challenging role; although I expected a stronger presence and cruelty from the character in Act 2. Hannah Davies, as Mrs. Johnstone, demonstrated a lovely singing voice, convincing accent, and natural acting abilities, notably highlighted in her poignant rendition of “On Easy Terms.” Kristy Smith-Wood approached the manic role of Sammy with conviction and strength. Elissa Holswich, playing the Narrator, possessed a strong singing voice, although microphone issues caused some lines to be missed. Nevertheless, Holswich's introspective performance of “The Devil’s Got Your Number” masterfully depicted the internal conflict and escalating superstition paranoia of Mrs. Lyons. Additionally, the character could have benefited from greater engagement, given the narrator's constant presence on stage. The technical aspects were notable, with effective use of fog, blood-red lighting, a set design mirroring the ‘twins' theme, and impactful stage blocking that enhanced intense moments. Theatre 102 provided an intimate setting, featuring a raised stage and cabaret-style seating, complete with a nostalgic ambiance from pre-show and intermission music of the era. Despite some amateur execution, the production's strength lies in its narrative exploration and committed performances, particularly by the two male leads. "Blood Brothers" is scheduled to run until May 4th, 2024. Note: Contains coarse language and depictions of violence and death.

About The Show: "The Thrill of Love" is a compelling drama that delves into the true story of Ruth Ellis, the last woman to be hanged in Britain. As a divorcee working in nightclubs, Ruth's life takes a dramatic turn when she becomes obsessed with a wealthy racing driver named David. The play explores the complexities of their relationship, leading to a shocking murder and a trial that captivated the nation. Production Team: Director: Ashleigh Cates Auditions: Date: Sunday, 19th May 2024 Time: Morning (9am - 12pm) or Afternoon (1pm - 3pm) Audition Requirements: Prepare a dramatic monologue from a play (preferably written in the last 50 years). Participate in a group audition involving learning a short scene within a 15-minute period. To book your audition slot, email ashleighmjcates@gmail.com. You will receive a confirmation email with your specific time slot within 24 hours. Roles: RUTH ELLIS: Nightclub hostess JACK GALE: Detective Inspector SYLVIA SHAW: Nightclub manageress VICKIE MARTIN: Model and actress DORIS JUDD: Charwoman Production Schedule: Rehearsals: Tuesdays and Thursdays: 7:00pm - 9:30pm Sundays: 1:00pm - 5:00pm Key Dates: Sunday, 26th May: First Rehearsal Saturday, 20th July: Opening Night Sunday, 11th August: Final Performance For more information or to request audition materials, please contact Ashleigh Cates at ashleighmjcates@gmail.com. Join us for this captivating production and be part of bringing Ruth Ellis's story to life on stage!

PAID OPPORTUNITY FOR SEQ ARTISTS ABOUT THE SHOW: Description: Follow six strangers from diverse backgrounds whose lives intersect in a transformative night at The Hotel California. Immerse yourself in a musical journey of love, discovery, and modern-day relationships set to the legendary catalog of the Eagles. Musical Style: Rock, soul, pop, and country undertones Strong emphasis on vocal harmonies and musical storytelling CASTING NOTES: Open to performers aged 25-50 of all gender identities and cultural backgrounds. Seeking strong singers with harmonising abilities. Strong acting skills and ability to take direction are essential. Some movement and dance skills required. Instrumental skills are highly valued. Roles Available: POPPY / KATE BARMAN / NARRATOR JOHNNY / HARRY LEBRON / BEAU JUNIOR TRAINEE PROGRAM - further details below TO APPLY: Application Requirements: Complete the online form at Registration Link Submit: Professional CV Headshot/s Self-tape (Minimum of 60 secs of a pop, soul, rock or contemporary song + monologue in American accent) Deadline: Applications close on 29 April 2024 REHEARSALS: Dates: Monday 26 August - Friday 30 August Monday 23 September - Friday 27 September Location: Brisbane Central Timing: Mostly daytime hours, some evenings (subject to change) TECH + DRESS REHEARSAL: Date: Wednesday 9 October SE-QUEENSLAND TOUR DATES (2024): Dates: Friday 11 October Saturday 12 October Friday 25 October Saturday 26 October Sunday 3 November Saturday 16 November Saturday 23 November POTENTIAL FUTURE TOURS: Tours: 2025 / 2026 (To Be Determined) PAYMENT SCHEME: Rehearsal Day Rate: $200.00 per rehearsal day Show Day Rate: $500.00 - $1,300.00 per show day (varies by role and number of performances) Total Pay: Estimated $3,000.00 - $19,500.00 for approximately 15 days of work (including rehearsals and performances) JUNIOR TRAINEE PROGRAM: Overview: Paid trainee program for students interested in production roles (stage management, lighting, audio, etc.). Gain hands-on experience and mentorship from industry professionals. Requirements: Enrolled student (high school, college, or equivalent). Passion for music and performing arts. Strong communication and teamwork skills. To Apply: Submit CV and statement of interest to monique@mcgeeentertainment.com.au by 29 April 2024 ADDITIONAL INFORMATION: Casting Brief: Download Here More Details: For inquiries or issues, please contact Monique Cribb at monique@mcgeeentertainment.com.au

Villanova Players Theatre transported us on a hilarious journey through seven magical years at a certain school of wizardry, where magical kids are sorted into groups - a bit like horoscopes for wizards. At this school you can find  'the braves', 'the smarts', 'the snakes', and 'everyone else with no discernible personality’. We meet Wayne, an Aussie bloke from Beenleigh, who finds himself sorted into the Puffs house in the same year that a certain "boy who lived" is sorted into the Braves. This show is a must-see for Harry Potter fans as it's packed with references that only faithful fans would fully appreciate. As a millennial fangirl of the Wizarding World I found myself in stitches for most of the show, often shedding tears of laughter; as if it were one big inside joke between the cast and the audience. The show delves into the untold tales of students trying to survive amidst the backdrop of the school's more renowned heroes. Wayne forges bonds with a quirky bunch of misfits in the Puffs house. Among them, the charismatic Cedric portrayed wonderfully by Sam Connolly, who also delivers a surprising turn as Voldemort in Act 2. Jackson Paul’s portrayal of Wayne from age 11 to 17 is a delightful journey, capturing the character's struggles with learning magic, adolescent angst, and his quest to forge lasting friendships. His comedic timing and natural acting ability imbue Wayne with authenticity, complemented well by Jeremy Hales' portrayal of the nerdy and nervous Oliver. The cast's ability to ad-lib lines added an extra layer of humour, showcasing their quick wit and comedic talent. Their physicality, prop work, and skill in embodying multiple characters with distinct accents and traits were truly impressive. While each member shone in their respective roles, certain actors stood out to me. Dominic Bradley, as J. Finch/Zach Smith (and many small character appearances), had the audience in stitches with every line. His seamless transformation from timid and sweet Justin Finch to the rough-and-ready Zach Smith was pure comedic gold, highlighting his remarkable versatility with character work. These quick-change transformations never failed to delight. Even "Harry Potter" disappearing for a mere five seconds and returning as Susan Bones sans wig left us all cracking up. Hannah Martin's portrayal of Susan Bones/Harry Potter was particularly impressive, with sassy Harry's chaotic appearances eliciting much laughter. Priya Shah, as the narrator, engaged with the audience effortlessly, adding to the show's intimate atmosphere by connecting with the audience to make me feel as if I were listening to a friend. Despite the lack of microphones, the cast did a commendable job projecting their voices to ensure we caught all the hilarious dialogue. A friendly reminder to some actors: facing the front or corners instead of the sides helps with audibility, ensuring we don't miss a single joke. While not every joke landed, which may be attributed to the script or direction, the show's parody nature invites you to cringe and laugh at its witty absurdity. One drawback was the show's length, which stretched beyond comfort. The tongue-in-cheek joke about a five-hour journey through seven years at Hogwarts wasn't far off the mark. Despite this, my smile lasted for the entire play!

Hayley is the current Artistic Director at Phoenix Ensemble, Beenleigh, QLD. Thank you for taking the time to speak with us. Can you share a bit about your background and journey into the world of theatre? Hayley: I have been immersed in the performing arts for as long as I can remember. I began dance training at the age of 3, and from there went on to work as a choreographer before moving to Australia in 2018. Since living in Brisbane, I have pretty much thrown myself head first into musical theatre without looking back! My directorial credits in Brisbane include The Wedding Singer (BTG, 2023), Urinetown: The Musical (Phoenix Ensemble, 2023), Legally Blonde: The Musical (STG, 2022), as well as working as Assistant Director on It Shoulda Been You (Phoenix Ensemble, 2022), Mamma Mia! (QMT, 2021) and Beauty and the Beast (QMT, 2021). I have also had the honour of holding the position of Artistic Director at Phoenix Ensemble since August of 2023. Did you undergo any formal or informal training in the performing arts? Hayley: When I realised that I had a passion for direction in the performing arts, I started putting myself forward for Assistant Directing opportunities to gain experience. I’m very lucky to have had the chance to shadow and learn from some exceptional talent in our South East Queensland community who have been integral in my growth as a creative. I have also completed workshops and masterclasses to further develop my skills, including the Directing Essentials course at NIDA. One thing about directing, and I’d imagine every other creative role feels similarly, is you learn SO much your first time around in the director’s chair. So all that being said, you can be as prepared and ready as humanly possible, but you will always be met with situations or challenges you may not have been expecting. There is nothing that is as beneficial as learning on the job. How do you go about selecting projects to work on? Hayley: I have spent the last few years directing quite a range of projects which has given me the chance to try a good mix of styles and get a feel for what I’m most drawn to. I believe it’s important to have a passion and excitement behind each production you take on, and that it then really translates through the work showcased on stage more than people realise. So, I always try to select projects that have a theme or a story that speaks to me and makes me excited to share my version of that show with audiences. I can tell based on the list of productions you mentioned; they all sound like highly entertaining and appealing projects! As Artistic Director, what are the key responsibilities and challenges you face in your role? Hayley: As the current Artistic Director at Phoenix Ensemble, I wear a producer hat when it comes to selecting and curating our season of shows, which comes with its own challenges. Selecting a lineup of shows for season is kind of an art form in itself. I aim to provide a mix of different styles, so that Phoenix Ensemble has a little something for every type of performer each year. I would say one of the challenging parts, per say, of directing is having a total understanding of the text you are working with. A good director will have such an in-depth, dissected understanding of the story, as well as each character. As an actor in a show, you often do a deep dive into your own character and all of the nuances that come along with that, but when you’re directing, you essentially do that work for every character in the show, if that makes sense. However, drawing that back to your previous question, that doesn't necessarily feel as much like a challenge if you have a love and passion for the story you are directing. I'm sure fellow directors will agree wholeheartedly. Plus, I have to say that I admire your choices for Phoenix Ensemble's lineup for 2024: Footloose, Carrie, Company, and Twisted. How do you approach working with creative team members to bring a production like these to life? Hayley: A big part of being a director is collaborating with other members on your team. I have found that communicating my vision and ideas for the show as early as possible is so important, as this ensures everyone on the team feels like we are always working towards a common goal. Finding people who have the same passion and love for a show as I do makes this process a breeze. Can you share any strategies or techniques you use to maintain a positive and productive rehearsal environment? Hayley: This is SO important to me. It can sometimes be tricky to find a balance between being productive and having fun, especially when it comes to community theatre. I think that the greatest part about working in community theatre is you know that every person involved is there because they love it. When I am in the rehearsal room directing a community theatre show, it isn’t anybody’s day job, and everyone is there as a volunteer because they want to be. It makes the project so special. Everyone is there working towards a common goal, and I think that is what makes it ‘fun’ while staying focused and working. I’m a director who’s big on collaboration, which I think adds to my positive rehearsal space. I find that actors feel so much more ownership and pride in their performance if they feel like they have contributed their thoughts, opinions and ideas to bringing that character to life. Can you share any upcoming projects or productions you're excited about, and what audiences can expect from them? Hayley: I don’t have any productions that I am directing at the moment, so I’m personally in the planning and brainstorming stage right now! To be honest, I’m enjoying this “calm before the storm” moment, and I’m soaking it in as much as I can before I get busy again. Phoenix definitely keeps my hands full, though! We are deep into our rehearsals for Carrie: The Musical which runs for the month of May, and we’ve just completed our auditions for Company! Head to www.phoenixensemble.com.au, or our social media pages to keep up to date on everything going on at the Tin Shed (honestly, it’s even hard for me to keep up some days!) I am looking forward to being an audience member for those performances, both of which are musicals I have never seen before. Do you have any advice for individuals aspiring to pursue a career on the stage or behind the scenes? Hayley: Get involved in your local community theatre! I am a HUGE advocate for the performing arts from a young age, but it is never too late to get involved. I know there are lots of places online to find audition notices (including the Stage Buzz Brisbane website!) or find which theatre is closest to you. Reach out to those companies! Since community theatre companies are all volunteer-based, they are always looking for extra hands. Too true. Since publishing this website, I have discovered just how many community theatre companies there are in South-East QLD. What do you love most about working in the theatre industry, and what keeps you motivated and passionate about your role? Hayley: I love the people that I get to interact with. Theatre people are some of the most loving, supportive people and I am very lucky to surround myself with a group of friends who share the passions that I have.  I’m motivated by my passion for the theatre industry, I guess? At Phoenix Ensemble, I am motivated by continuing to produce high quality theatre for community theatre performers to be involved with and grow as artists. I love the fact that we are able to offer actors in the community an opportunity to learn, grow and tell stories in our space that THEY love. Watching cast members form friendships and loving the work they are doing is always going to be such motivation for me, and that goes for producing as well as directing. I'm getting misty-eyed here! Lastly, can you share any memorable or inspiring moments from your career that have reaffirmed your love for theatre and the arts? Phoenix Ensemble is also the home of Phoenix Arts Academy, a youth program to learn singing, dancing and acting for students from Prep to Year 12. Observing the students' love for theatre in classes is such a joy and inspires me everyday, and consistently reminds me how important performing arts education is for our younger generations. The highlight of my directing career to date was last year when I had the opportunity to direct Urinetown: The Musical. While this is a lesser known show, it is easily one of my favourites and is a story that I believe is so important, powerful and relevant to our society today. I walked into every rehearsal with so much fiery passion and working on that project with a group of remarkable humans who shared that same passion for the story for 12 weeks was indescribable. Thank you so much for your time and wonderful responses Hayley. (Carrie: The Musical runs from 3rd-25th May, 2024 at the Phoenix Ensemble Theatre at Beenleigh Showgrounds.)

Join us for auditions for "Kimberly Akimbo," a touching play set in 1999 that explores the challenges and joys of an unconventional family. Here's all the information you need to audition: Audition Details: Date: 19 May 2024 Time: 10:00 am Location: Javeenbah Theatre Co., Cnr Stevens Street and Ferry Street, Nerang QLD 4211 About the Play: "Kimberly Akimbo" follows the life of Kimberly, a 16-year-old girl who ages four times faster than normal due to a rare medical condition. Despite her challenges, Kimberly navigates life with resilience and humour, facing family tensions and unexpected friendships. Character Descriptions: Kimberly (age presenting 50-70): A teenage girl dealing with an aging disease. Resilient, introspective, and central to the story. Pattie (age presenting in 30s): Kimberly's mother, heavily pregnant and accident-prone. A hypochondriac with comedic and dramatic flair. Buddy (age presenting in 30s): Kimberly's father, portrayed as an alcoholic. Complex, with vulnerabilities and shortcomings. Debra (age presenting in 30s): Pattie's sister, wily, homeless, and an ex-con with a plan. Adds intrigue and unpredictability to the story. Jeff (actor over 18, portraying 16): Kimberly's friend, awkward and unpopular. Quirky, with interests in D&D and anagrams. Production Dates: August 31 - September 14, 2024 Audition Pack: Download the audition pack here: Akimbo Audition Info Audition Process: Auditions will involve reading from the script provided by the director. Prepare for your audition by familiarising yourself with the characters and the themes of the play. For audition pieces and access to the perusal script, please contact director Kaela Gray at: jbahakimbo@gmail.com Note: This production is a play, not the musical version of the story.