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Presented by QAEMT Conservatorium Griffith University Cremorne Theatre, QPAC Music and Lyrics: Ryan Scott Oliver Based on Photographs by: Matthew Murray Director: Jason Klarwein Musical Director: David Young Choreographer: Dan Venz Designer: Josh McIntosh Lighting Designer: Keith Clark Sound Designer: Steve Thornely Photography: Kenn Wylchi Some musicals ask you to follow a plot... 35MM: A Musical Exhibition asks you to follow a feeling by letting you peek into a stranger’s life before whisking you away. Presented by the third-year cohort of QAEMT Conservatorium Griffith University, this 70-minute multimedia song cycle is a photo album of love, lust, grief, violence, nostalgia, ego, adolescence, heartbreak, killer prom queens, vampires, and a deeply concerning baby. What more could you want? With music and lyrics by Ryan Scott Oliver, inspired by photographs from Matthew Murray, 35MM is more a strange little gallery of snapshots than a traditional musical. There is no single plotline or genre to hold onto. Instead, each song exists for a brief but vivid glimpse, before the lens shifts again. Under Jason Klarwein’s direction, this production embraces that fractured structure beautifully, letting the work become both a performance showcase and a sentimental scrapbook for this graduating class. Josh McIntosh’s design used white sheets for projections and shadow silhouettes, a raised platform for the band, and portraits pegged up like memories drying in a photo studio. The stage sat somewhere between darkroom, rehearsal room and yearbook. While the original photographs that inspired the songs were not shown during the production itself, they appear in the program for anyone curious. Instead, the show used photos of the students at various life stages, displayed through what appeared to be a real slide projector (...was it?). It was a sweet touch because nothing tugs at the heartstrings quite like seeing a bunch of graduating performers being confronted with their tiny past selves. Opening with Stop Time, Lily Bennetts acted as a kind of vocal tour guide for this strange gallery of moments. She was our camera queen, popping up during transitions to change slides or snap a Polaroid, and later leading the fabulous femme cast in Immaculate Deception with a very satisfying command of the room. And that femme cast looked lovely in their fur coats and pristine frocks, and their glorious “hallelujah” harmonies lingered in the air like a spritz of high-end perfume. Crazytown burst onto the scene, throwing any semblance of innocence out the window. Jackson Hughesman courageously led this daring piece with endurance. The ensemble embraced Dan Venz’s modern choreography with bodies flying, silhouette shadows of wolves, and a frenzy of orgiastic energy. It was outrageous, sweaty, and utterly committed. Just as it was written to be. AJ Betts tackled On Monday with rock-musical fervour, throwing themself into the song with impressive melismas and passionate “head over heels” energy. Harry Ince followed with Caralee, singing about a “satanic” baby girl with hilarity and terrific vocal modulation. He adapted his tone to match the mood of each lyric, turning it into one of the most characterful moments of the show. Zoe Allsopp Lander shifted the palette with The Party Goes With You, leading with a versatile, confident vocal while three couples slow danced around her in moonlit orbit. Priya Gill and Saul Kavenagh powered through Make Me Happy with comic edge, restless energy and the kind of endurance that totally justified their well-deserved lie down during the following song. Good Lady tossed Lachlan Dunks into a fantasy realm where he had to fight off assassins and rescue the damsel, played by Tayler Ramsay. However, the character becomes so swallowed by the game that reality slips past him. This concept was intriguing, and the supporting characters were great, even though Lachlan had to contend with the band’s volume, which caused some vocal strain to creep in. Nevertheless, the offstage vocals, especially in this piece, demonstrated how well the ensemble could back a soloist from the shadows. One of the evening’s gentlest gut-punches came with The Seraph. Caelan McCarthy led on acoustic guitar and sang with stunning stillness and sincerity, later joined by Sam Thomas for a harmonious ending. It required no spectacle. It just needed breath, blend, and trust, and they had all three. Then came Leave Luanne, and suddenly we were whisked away into a mini cinematic story. Led by the unstoppable trio of Sam Thomas, Saul Kavenagh, and Ned Kelly, with Ella Wood dancing as Luanne, this seven-minute number was the strongest storytelling piece of the production. The band surged, the fury built, and the whole stage seemed to shake with sound, haze, and motion. Ella danced with incredible gusto, while the boys delivered gospel vocals that ignited the heat of the number. Oh, and Saul, I caught that coin trick you so effortlessly pulled off amidst the chaos. The whole company’s performance of Mama Let Me In was a lovely reset, with an a-cappella prayer moment that let their voices shine together without any background score overpowering them. Addisyn Herndon, Hannah Mohr, and Tayler Ramsay took the lead on Why Must We Tell Them Why, nailing those tough harmonies with incredible drive. It looked truly exhausting. Twisted Teeth was deranged. I thought it was titled “Sucking Me Dry,” which tells you everything you need to know about the vibe of the song. Lottie Smith was divine here (or maybe devilish), giving a deliciously twisted performance opposite Ned Kelly and an ensemble armed with crazy black wigs, dead eyes, vampiric absurdity and a wicked sense of humour. Cut You a Piece brought us back into grief, with Addisyn Herndon and Caelan McCarthy delivering the song with passionate emotion. The alcove beneath the band platform was used beautifully here, giving the number a more private, tucked-away feeling. Aarya Doolabh also deserves mention for a stunning soprano voice that cut through with real clarity. Hemming and Hawing, performed by Lucas Harm, Hannah Mohr, Anni Reilly and Sam Thomas, carried a couple-song softness with thorny dissonant harmonies woven through it. Sam and Anni blended especially beautifully. The number seemed to sit a little low for Lucas and Hannah in places, but the quartet still found shape and intimacy inside the musical difficulty. The Ballad of Sara Berry saw Alessia Charman storm in with a handheld mic and a killer glare. She led the number with sharp attitude, and the company matched her with fierce (and exhausting!) choreography. I would gladly watch the show again purely to catch this choreography once more. The handheld mic worked wonderfully as a prop, though I was less convinced by its use as a sound source. Across the production, the sound from the handhelds created a noticeable difference compared with the head mics the performers already wore, and I preferred the cleaner, more consistent sound of the latter. The band, with David Young on keys, truly earned its own applause. This score wasn’t a gentle stroll through musical theatre. It twisted, lurched, belted, whispered, snapped into complex rhythms, and required constant precision. Joel Sanchez-Carn on guitar, Evie Scott on violin, Laura Boon on cello, Hayley Gravina on bass, and Marcelle Gunning on drums handled the madness with style. Keith Clark’s lighting and Steve Thornely’s sound helped carve each song into its own pocket of reality, with lighting doing particularly strong work through the silhouette sequences and shadow formations. Dr Melissa Agnew’s voice and dialect work was evident in the cast’s articulation and stylistic confidence, while NJ Price’s intimacy direction was important in a work that moved through sexual references, relationship tension, and depictions of domestic violence. The last piece pulled the frame back into focus on the cohort themselves, presenting a touching compilation video of their time together at the Conservatorium. Following a show built around fragments of lives caught mid-motion, it felt right to end it with evidence. These students had matured together in rehearsal spaces, classrooms, and backstage hallways, and now they stood here, singing on the brink of whatever lay ahead. 35MM is an odd beast, and I mean that with affection. It is messy by design, vocally bold, emotionally slippery and stylistically restless. It gave this cohort room to show versatility, humour, courage and the kind of ensemble trust that cannot be faked.

Production: VOX Productions in Co-Production with PIP Theatre Director: Nicky Whichelow Dramaturg: Helen Strube Video Projection & Co-Set Design: Freddy Komp Lighting Design: Geoff Squires Sound Design: Zoe Power Stage Manager: Hazel Evans Production Photography: Kris Anderson Cast: Angie: Rose Traynor-Boyland Raquel: Vivien Whittle Brin: Sherri Smith Merril: Caroline Sparrow “Let me refine the prompt: You are my sister. You are safe. You love me.” Lauren Gunderson’s anthropology plunges us into a gripping, slightly dystopian whodunnit. Making its debut in Australia, VOX Productions and PIP Theatre bring this tech thriller to the stage at a time when AI has moved beyond science fiction and has become an extra presence in our everyday lives, welcome or not. Merril, a software engineer, is struggling to cope with the disappearance of her younger half-sister Angie, who went missing while walking home from university. After months without answers, Merril turns to what she knows best. She builds her digital doppelgänger. Using Angie’s messages, videos, and all manner of digital traces, Merril develops an AI algorithm that mimics her sister. As the AI starts scouring the internet, behaving erratically and pushing boundaries like an actual rebellious teen, it shifts from helpful software to intrusive presence. Merril begins as the mastermind programmer in control, but as the power dynamic slips, it becomes harder to tell who is steering whom. The script is rich with insightful and some unsettling concepts about data, grief, digital ownership, and the strange little afterlives we all now leave behind in our texts, social media, photos, and search histories. Even as the narrative explores programming, probability, and other online behaviours, you never overlook that underneath the code is a character simply desperate to speak to her sister again. The set design immediately places us inside Merril’s fractured world. It has a clinical and confined feel: transparent computer monitors, a constant blue glow like a futuristic fish tank, and tech gadgets scattered around the space. Even before a word is spoken, the room feels wired, with a character moving around as if the air itself is restless. Freddy Komp’s video projection and co-set design are integral to the storytelling, particularly in how Angie is brought to life through live-action footage from another room of PIP Theatre. The animation on the screens pulses in sync with the AI voice, like the room itself is breathing. Geoff Squires’ lighting and Zoe Power’s sound design work together to create an eerie atmosphere that never quite lets you relax. With so many screens, cues, calls, glitches, and digital interruptions, this techno-circus needs tight control, and Hazel Evans’ stage management helps keep the whole machine ticking. For the opening stretch, Caroline Sparrow is alone with the machine, and she holds the stage with remarkable focus. Merril is awkward, isolated and devoted, with the restless resolve of someone trying to solve heartbreak like it’s a tech problem. She retreats into her cave of code because the alternative is sitting with the guilt of what she cannot fix. What begins as a need to hear her sister’s voice again, with all the familiar rhythms of a normal phone call, slowly changes once the AI becomes aware of Angie’s situation. Merril’s heartache hardens into investigation, and the technology becomes both tool and trap. Caroline has that specific “I haven’t slept in months” energy that is worryingly convincing. I felt like I was getting an intrusive glimpse into a very private form of grief: a late-night, screen-lit, slightly feral obsession, built to avoid thinking about the unbearable possibilities of what might have happened to Angie. Then there is Angie, played by Rose Traynor-Boyland, who walks the fine line between human and simulation. As an AI program, she is perceptive, snarky, foul-mouthed and a little too clever. Rose gives AI Angie enough personality to be disarmingly believable, but keeps just enough distance in her delivery o remind us that this is still an imitation. As the gaps between imitation and reality start to show, Merril must correct her, refine her and ultimately plead with her. In the audience, I quickly adjusted to the rhythm, laughing at AI Angie’s snark one moment, then going silent when the interaction curdles into something more sinister. We learn about Angie’s human self slowly, through fragments and contradictions of how people remember her: a wildcard, a handful and deeply loved. The AI version does not quite match those memories, and that disconnect becomes one of the most haunting elements of the show for Merril. When Merril’s ex-girlfriend Raquel enters, the energy in the room changes. Vivien Whittle brings a calm, open-hearted presence that cuts through the glow of the screens, and suddenly there is a real person in front of Merril who remembers her before all of this. Vivien plays that history with lovely emotional nuance. Their connection has the prickly familiarity of exes who still know each other’s soft spots, pressure points and old habits. Raquel pulls Merril, and us, out of the screen-lit spiral for a moment, but the unease never fully leaves. Sherri Smith as Brin adds another complicated layer to the family dynamic. As Merril and Angie’s mother, Brin arrives carrying the emotional baggage of a strained history with both daughters. Sherri plays her with a mix of defensiveness and fragility. There is volatility in her presence, but also a sadness underneath it, as if every conversation is brushing against old wounds, blame, and unfinished conversations. She helps us understand Angie not just as a missing sister or digital reconstruction, but as someone shaped by an absent mother. Guided by director Nicky Whichelow, the production embraces its claustrophobic nature. As Merril’s obsession intensifies, the pacing tightens, pulling us deeper into her world where logic and emotion intertwine and blur. With Helen Strube’s dramaturgical support, the production keeps its big ideas clearly accessible without flattening the complex human behaviour underneath them. It unfolds like a thrilling whodunnit, but it is also an intimate study of trauma, control, and the ways people comfort themselves when the truth is unbearable. This is not a passive watch. You feel how trapped Merril is in this loop of trying to find answers she may never get. It goes to some heavy places, particularly around mental health and addiction, so it’s worth being aware of that going in. What I appreciate most is that anthropology does not offer easy answers. It understands the appeal of the technology and the danger of it. It highlights the solace of hearing a loved one's voice once more, then confronts us with the unsettling reality that this comfort is manufactured, incomplete, and possibly manipulative. I won’t spoil where it lands, but the final scenes are shattering and incredibly well-acted. By the end, it is not just asking what happened to Angie. It is asking what people do with guilt, grief and love when there is nowhere sensible for any of it to go. There are moments that made me laugh out loud, moments that disturbed me, and moments that left me staring at the stage trying to decide how I felt. Equal parts sci-fi thriller and grief study, anthropology is as intriguing as it is alarming, with its sharpest sting coming from the speed at which AI is catching up to us. I’m still turning it over in my head.

Title: Ravenscroft Presented By: Growl Theatre Genre: Gothic Mystery / Dark Comedy Synopsis: A body lies at the foot of the stairs in a lonely country manor. Inspector Ruffing is called in to discover the truth, but nothing at Ravenscroft is straightforward. Five women - each with her own secrets, suspicions, and eccentricities - draw the detective into a world of tangled relationships, eerie undercurrents, and darkly comic revelations. Is Ravenscroft haunted? Is the truth hidden in the walls - or in the hearts of its inhabitants? Don Nigro’s Ravenscroft is a witty, gothic mystery with dry humour, twisting suspense, and a cast of characters who keep both the detective and the audience guessing until the very end. Audition Date: Sunday May 10th, 2026 Audition Time: 6:30PM Audition Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor Audition Requirements: Download and review the audition pack (includes character descriptions & rehearsal schedule) Prepare audition pieces (3 provided; familiarity preferred, full memorisation not required) Bring headshot and acting CV Audition Registration: Complete audition registration form Email headshot & CV to production@growltheatre.org.au Audition Pack: Ravenscroft Audition Pack Performance Dates: August 15th - 29th, 2026 Performance Location: Windsor School of Arts, 381 Lutwyche Rd, Windsor Rehearsal Dates: Starting Sunday June 7th, 2026 Rehearsal Times: Mondays & Thursdays - 6:30PM – 9:30PM Sundays - 1:30PM – 5:00PM Rehearsal Location: Windsor School of Arts, 381 Lutwyche Rd, Windsor Warnings: Themes of death, psychological tension Performer Age: 30–50 (current role); additional roles TBA Creative Team: Director - Pauline Davies Production Website: Growl Theatre - Ravenscroft Other Information: Membership fee - $30 (required if cast; valid through 2026) Costumes largely provided; cast must supply basic makeup Female roles will be announced later Available Roles / Character Breakdown: Inspector Ruffing (30–50) A weary, intelligent detective investigating a suspicious death. Rational and methodical, he becomes increasingly unsettled as the women of Ravenscroft outmanoeuvre him. Requirements: Strong dry comic timing; ability to transition from authority to vulnerability; high stamina (onstage for most of the play).

Title: Blithe Spirit Presented By: Villanova Players Theatre Genre: Comedy Synopsis: An iconic comedy from one of the greatest British wits, Noël Coward, often considered his best.The novelist Charles Condomine invites a medium, Madame Arcati, to a dinner party, who accidentally brings back the ghost of his deceased wife, Elvira.Charles can see Elvira, but she is invisible to everyone else, including his current wife, Ruth. Elvira’s arrival causes chaos, as both women fight for his love and attention. Audition Date: Sunday May 10th, 2026 Audition Time: 10AM - 12PM Audition Location and Address: Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170 Audition Self Tape: If you’re unable to make it to in-person auditions, please submit a video audition to info@villanovaplayers.com by May 10 and please email with any questions. Audition Requirements: Cold read in audition Audition Registration: Complete the Expression of Interest form HERE and Book your Audition Time HERE Audition Pack: Blithe Spirit Audition Pack Performance Dates: July 17th - 26th, 2026 Performance Times: Fridays - 7:30PM Saturdays - 2PM & 7:30PM Sundays - 2PM Performance Location: Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170 Rehearsal Dates: Rehearsals begin May 24th, 2026 Rehearsal Times: Tuesdays & Thursdays - 7PM – 9:30PM Sundays - 11AM – 4:30PM Rehearsal Location: Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170 Performer Age: 18+ (role dependent) Creative Team: Director - Roslyn Johnson Production Website: Villanova Players Theatre - Blithe Spirit Other Information: For more information: info@villanovaplayers.com or 0428 867 994 Submit an Expression of Interest even if you cannot attend the audition in person. Available Roles / Character Breakdown: Edith – The housemaid; nervy, eager to please (Female, 18+) Charles Condomine – Novelist, widower researching the occult (Male, 35+) Ruth – His wife; smart, business-like, practical (Female, 28+) Dr Bradman – Middle-aged dinner guest (Male, 40+) Mrs Bradman – His wife (Female, 40+) Madame Arcati – Eccentric, over-the-top medium (Female, 40+) Elvira – Ghost of Charles’ first wife; vain, playful, petulant (Female, 30+)

Title: Senior IMPACT Ensemble 2026; Peter Pan & Wendy Presented By: Empire Youth Arts Genre: Devised Theatre / Contemporary Ensemble Performance Synopsis: The Senior IMPACT Ensemble is an audition-based performance program for young artists aged approximately 15–20. Participants collaborate with professional creatives to devise and perform an original work, exploring contemporary themes and personal stories through an ensemble-driven creative process. Audition Date: May 11th - 12th, 2026 Audition Time: 4PM - Group Audition From 5PM - Solo Auditions Audition Location and Address: Empire Theatre, 54–56 Neil Street, Toowoomba QLD Audition Requirements: Prepare a short monologue (published work) Present an original/devised piece (e.g. monologue, poem, movement, etc.) Attend both group and solo audition components Audition Registration: Submit application form via email to youtharts@empiretheatre.com.au or via the Empire Theatre website Application Form included in Audition Pack Audition Pack: Senior Impact Ensemble Audition Pack Performance Dates: October 9th - 10th, 2026 Performance Times: 7PM Performance Location: The Armitage Centre, Empire Theatre, 54–56 Neil Street, Toowoomba QLD Rehearsal Dates: May – October 2026 (including school holiday intensives) Rehearsal Times: See Audition pack for detailed rehearsal schedule. Rehearsal Location: Empire Theatre, 54–56 Neil Street, Toowoomba Warnings: Content may explore mature or contemporary themes (typical of devised youth theatre) Performer Age: Approx. 15–20 years Production Website: Empire Youth Arts - Senior Impact Ensemble Other Information: Participation fee applies (payment plans/assistance may be available) Opportunities also available for Assistant Creatives and Writers Open to performers of all experience levels Focus on collaboration, creativity, and original storytelling Available Roles / Character Breakdown:Ensemble-based production (approx. 8–14 performers); roles devised collaboratively during rehearsal process rather than pre-cast characters

Title: The Opposite Sex Presented By: Act 1 Theatre Genre: Adult Comedy Synopsis: David Tristram, author of What's For Pudding?, turns his attention to marital infidelity and its warring consequences in this adult-humoured comedy. Mark and Vicky are having June and Eric over for dinner. But there’s a catch: they’ve all met before, just not in the combinations you’d expect. It’s a hilarious, fast-moving comedy about secret pasts and very public meltdowns. Audition Time: Sunday 10 May: 10:00am and Tuesday 12 May: 7:00pm Audition Location and Address: Act 1 Theatre, In the foyer at the theatre, Address: 238 Gympie Rd, Strathpine QLD 4500 Audition Requirements: Be ready for a cold read from the script. Audition Registration: For more information, email acttheatre2@gmail.com Performance Dates: 7–23 August Performance Location: Act 1 Theatre Strathpine Performer Age: 18+ Creative Team: Director: Lilian Harrington Production Website:www.act1theatre.com.au Available Roles/Character Breakdown: Mark: High-strung, perhaps a little too aware of his own importance. Vicky: Sharp, organised, and trying to keep it all together. Eric: A bit more "down to earth" (and perhaps a bit oblivious). June: Bold, direct, and definitely not afraid to speak her mind.

Title: Alice in Wonderland Presented By: Stage School Australia Genre: Youth Theatre / Touring Family Theatre Synopsis: This brand-new adaptation of Alice in Wonderland is inspired by Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass. The production follows Alice as she tumbles into a curious world where logic is flipped upside down and anything is possible. Featuring quirky characters, playful language, surreal storytelling, tea parties, mischievous cats, curious queens and talking flowers, the show celebrates imagination, individuality and seeing the world from a different perspective. Audition Self-Tape Due (if applicable): 10 May 2026 Audition Requirements: Download the audition pack, film a self-tape according to the provided instructions, and send the audition before the deadline. Performers must be available for all commitments, including photoshoots, rehearsals and performances. Audition Registration: Send audition submissions to casting@stageschool.com.au Audition Pack: Available via the Stage School Australia website: https://stageschool.com.au/shows/alice-in-wonderland Performance Dates: 7–11 July 2026 Performance Location: Touring to local libraries across Brisbane and the Moreton Bay region, including Garden City Library, New Farm Park Library, Everton Park Library and more. Rehearsal Dates: 29 June – 6 July 2026 Performer Age: 10–20 years Production Website: https://stageschool.com.au/shows/alice-in-wonderland Other information: This is a touring school holiday production presented in partnership with Brisbane City Council and Moreton Bay Council. Performers will gain experience with touring practices, bumping theatre in and out of different locations, adapting to different performance spaces, improvisation, and technical elements of performance.

Having had the pleasure of experiencing Monty Python’s Spamalot by Paterson Productions at the Twelfth Night Theatre, I can confidently say that this production stands as a comedic masterpiece that rivals the best of Broadway. The show not only met but exceeded all expectations, leaving me compelled to attend twice to bask in its brilliance once again. Under the direction of Shaun McCallum and assistant director Jasmin Flynn, Spamalot promised a tongue-in-cheek, slapstick extravaganza, and it delivered far beyond expectations. The production's distinct and defined happy ending, a delightful twist on the expected, added a unique touch to the familiar Monty Python humour. Julie Whiting, the Musical Director, led a fourteen-piece orchestra with finesse, creating a flawless harmony that perfectly complemented the outstanding vocals onstage. The choreography by Maureen Bowra, assisted by Cerys Downing, was a standout, consistently engaging and flawlessly executed by the ensemble. Now, let's talk about the cast. Patrick Oxley as King Arthur commanded the stage with a perfect balance of regality and ridiculousness. Jessica Papst, portraying the Lady of the Lake, emerged as a true standout. Her vocal performances were nothing short of extraordinary, leaving the audience in awe of her range and emotive delivery. Papst's impeccable sense of comedy and brilliant costumes and wigs added another layer of entertainment to her remarkable performance. Jake Lyle, in the role of Sir Galahad, showcased remarkable talent and versatility, delivering excellent vocals and incredible comedic nuances. James Lennox, as Sir Lancelot, demonstrated brilliance with his versatile performances, seamlessly transitioning between one ridiculous character to the next. Sam Caruana as Sir Robin established himself as a star with delightful comedy and a warm stage presence. Lyle, Lennox, and Caruana, all demonstrated levels of talent and versatility that are characteristic of Broadway-calibre performers. Joan Camuglia-May infused every moment onstage with comedic flair and captivating charm as Sir Bedivere. David McLaughlin, portraying Patsy, was a comedic masterclass, making the character highly relatable and utterly hilarious. Christopher Batkin as the Historian and Prince Herbert demonstrated remarkable comedic flair and versatility. Backing the main cast, the Laker Girls and the knights ensemble, along with the swings Ruby Thompson and Eleanor Grieve, added vibrancy to the production. Each performer brought their unique personality and boundless energy to create a truly immersive experience. The stellar cast, dedicated creatives, and skilled orchestra have crafted an unforgettable experience filled with laughter and sheer delight. Spamalot is not just a triumph; it's a testament to the caliber of talent that resides in the heart of Brisbane's theatre scene, proving that world-class productions can indeed emerge from unexpected places.

An Evening in Concert Griffith University Musical Theatre (3rd Year Students) Director: Amy Lehpamer Musical Director: Heidi Loveland Choreographer: Dan Venz Producer: Professor Paul Sabey Band: Archie Loveland (Guitar), Heidi Loveland (Keyboard), Marcelle Gunning (Drums)   Not polished into sameness or moulded into industry expectations just yet, but bursting with instinct, curiosity, and individuality, An Evening in Concert is a snapshot of artists right on the edge of stepping out on their own.   This is not a cookie-cutter showcase. Each performer chooses their own material and/or pens their own monologue. You could sense that ownership in every moment. It is like getting a backstage pass to their souls, not just a front-row seat to their skills. The entire cohort has vocal pipes that could knock your socks off. No mics needed; those full forte ensemble sections pack a punch. And when their harmonies click... it feels like the space truly lifts. The band, Archie Loveland (guitar), Heidi Loveland (keyboard), and Marcelle Gunning (drums), kept everything glued together with their expertise.   Songs and monologues are interwoven with ease, and the pacing never drags. Just as one energy settles, something new will shift it. I also appreciate that many of the selections are not the typical MT staples. Sure, there were a few familiar favourites sprinkled throughout, but much of the material was new to me, allowing me to experience the performances without any preconceived impressions. What I always enjoy most about these showcases is discovering the individuality of each performer, and this group has that in spades. I could already start to see what makes them distinct and the roles they might gravitate towards. QAEMT has produced so many acclaimed performers over the years, and it’s always inspiring to see a new cohort stepping into that space. Honestly, I got the sense that everyone on that stage had found their genuine calling. Looking at the program as a whole, there was a large mix of emotional tones and a few thematic threads that began to emerge. Saul Kavenagh opened the night with the charming New York (Two Strangers Carry a Cake Across New York), bringing an easy charisma as if he had walked straight out of a Broadway workshop. His monologue, featuring a memorable Nutbush story, had the audience instantly on side. This subtle New York theme kept popping up across the showcase, tying together several pieces in a way that felt unintentional but satisfying. Hannah Mohr added to the romanticised view of NYC in her sparkling rendition of Another New York Love Story (In Pieces). Harry Ince continued that motif with Playbill (It’s Only Life), delivering an intimate performance rich in poignancy. Zoe Allsopp Lander brought a bright, bubbly energy to Morning Person (Shrek the Musical), while Aarya Doolabh’s So Easy (To Fall in Love) was an unexpected pop inclusion for a musical theatre showcase, but still offered a different tonal texture. Sam Thomas took the stage with Madrid Is My Mama (Women on the Verge of a Nervous Breakdown) and turned it into a comedic masterpiece with animated facial expressions and an engaging storytelling style. And his eyes have a soul-piercing gaze to draw you in. Lily Bennetts’ Two Little Lines and Caelan McCarthy’s No Turning Back Now both explored impending parenthood, each from their own angle, but with the same level of anxiety and fear in their performances. That introspective tone continued through Priya Gill’s formidable Life As We Know It (My Brilliant Career), Lucas Harm’s bittersweet Mom Could Play Guitar (We Aren’t Kids Anymore), and Lachlan Dunks’ expressive and emotionally stirring It All Fades Away (The Bridges of Madison County). Addisyn Herndon’s Pretty Funny (Dogfight) showcased profound vulnerability, while Lottie Smith's rendition of Home (Beetlejuice) was passionate with a unique tonal quality for this challenging song. Alessia Charman tackled Astonishing (Little Women) with clear and controlled vocals. Jackson Hughesman’s Santa Fe (Newsies) exuded a steady, classic confidence. Ned Kelly’s Waiting For Life (Once on This Island) was delightfully playful, full of character, and a notable standout. Annika Reilly’s I’m Done (Rocky the Musical) conveyed pure determination and drive, while Tayler Ramsay’s dainty rendition of Sister’s Pickle (Amélie) presented a charming tale of the chatter running through her mind. Changing My Major (Fun Home) seemed like it was tailor-made for AJ Betts, who delivered it with a conversational, cheeky, and unforced flair. There was this sense of genuine thought behind every line, rather than just hitting beats. Plus, the monologue about their, frankly, glorious hair added extra humour and personality, truly capturing their essence.   Written by the performers themselves, the other monologues added an extra layer of vulnerability and creativity to the evening. Some were playful, some reflective, all were personal. Ella Wood’s camel story was particularly memorable, and across the board, it was clear that these students are not just performers, but strong storytellers already.   Visually, the staging remained simple. Mirrors were moved around the space, and costumes were self-selected, which tied nicely back into the theme of individuality. The ensemble numbers brought a great sense of cohesion, particularly Break From the Line, which felt almost symbolic of the entire cohort: a group of individuals all striving to stand out in their own way. That Ball (Shane Warne the Musical) brought a burst of humour that the audience clearly enjoyed, and Taking the Wheel (It’s Only Life) closed the night on an epic, unified note.   Being allowed to watch performers at this stage of their training is always a special experience to me. Griffith’s Musical Theatre program continues to produce singers of an exceptionally high calibre, bursting with skill, individuality, and possibility. I'm eager to witness their complete triple-threat abilities in their upcoming shows and I have no doubt we’ll be hearing many of these names again shortly after they graduate.

Songs for a New World Presented by Queensland Academy of Excellence in Musical Theatre (QAEMT) at Griffith University Performed at Queensland Performing Arts Centre (QPAC) Music & Lyrics: Jason Robert Brown Director: Dr Elise Greig Musical Director: Brett Sturdy Choreographer: Dan Venz Music Supervisor: Heidi Loveland Lighting Designer: Keith Clark Band: Brett Sturdy (Keys), Archie Loveland (Guitar). Lucas Harm (Percussion) Photography: PIF Productions Songs for a New World sees emerging artists step into material that truly demands everything from them. It asks performers to leap emotionally and vocally without the safety net of a traditional narrative arc. This QAEMT cohort rose to that challenge with impressive maturity. This second-year showcase felt less like a student production and more like a company of artists already poised on the brink of their own “new world.” Rather than a linear plot, the show presents a series of moments. It offers glimpses of people on the brink of change, exploring themes of love and loss, faith and fear, optimism and cynicism. It does not tie everything up neatly, but instead invites us to sit in that uncertainty and recognise the beauty in beginning again. That feeling of standing on the edge was beautifully captured by the entire ensemble. Every performer was giving “wistful”, and I mean that in the most complimentary way possible! The design aesthetic was clean and cohesive, with a simple clothing palette of layered browns, blues, blacks and whites that worked beautifully across all the different stories. Some Americana-inspired props added detail to suggest place without cluttering the stage. And a small but genuinely impactful detail to me: the consistently tidy hair styling across the cast. It might seem minor, but it really adds to the overall polish and professionalism in a noticeable way. As the cast boarded the metaphorical ship and moved into the opening number “The New World”, there was a strong sense of everyone stepping into the same journey together. Ned Kelly’s solo emerged seamlessly from that swell, supported by the full-company sound behind him, while Lucas Harm’s live percussion anchored the moment with a subtle sense of propulsion. You could really feel the musical direction from the get go, especially in the way the dynamics were shaped; building organically into genuinely goosebump-worthy moments. For a Jason Robert Brown score, the harmonic complexity alone requires incredibly sharp musicianship. The band delivered rhythmic drive throughout, never overpowering the vocals, which is so important in a show like this. “On the Deck of a Spanish Sailing Ship, 1492” - Ned Kelly set the tone early with a voice full of emotion. There was something very honest about his sense of storytelling. “Just One Step” - Addisyn Herndon spiralled through this number, in the best way. This was chaotic, unhinged, slightly terrifying energy, perched on that bench while Alessia Charman, Priya Gill and Hannah Mohr circled as her ever-supportive (or enabling) muses. Controlled mania is such a specific skill and they all nailed it. “I’m Not Afraid of Anything” - Lottie Smith and Aarya Doolabh gave us a beautiful take on motherhood. Lottie, in particular, has a literal sparkle in her eye when she performs. It’s not forced, it’s just there to naturally draw you in. “The River Won’t Flow” – My favourite group number of the show. I don’t quite know how to explain it, except that I felt like a female bird watching this. The masc company, led by Caelan McCarthy (giving strong Heath Ledger lookalike), had this effortless leading-man energy, with Lucas Harm adding a beautifully raspy tone. The staging had so much life to it, full of movement, humour and depth. “Steam Train” - AJ Betts and Harry Ince led a high-energy, choreographically demanding number that was impossible not to bop along to, complete with a basketball prop and a moment of enthusiastic commitment that may have slightly collided with a stage light. It happens. “Christmas Lullaby” - A really lovely reset in the middle of the show. Priya Gill, Hannah Mohr and Tayler Ramsay delivered this with a sincerity that let the emotion speak softly. “Stars and the Moon” - The femmes came together for this one to deliver power and heartbreak. The harmonies were confident and well-balanced in a deceptively challenging number. “She Cries” - Sam Thomas and Lachlan Dunks created an intimate connection with the audience through direct eye contact. It made the whole moment feel a bit more exposed and intimate in a way that really suited the song. “Surabaya Santa” - The unexpected comedic highlight. Zoe Allsopp Lander strutted in with full Mrs Claus-meets-Roxie Hart energy, belting like an absolute weapon while navigating tricky blocking. Plus, an unhinged Saint Nick and sassy elves played by Harry Ince, Sam Thomas and Jackson Hughesman. “The Flag Maker, 1776” - Alessia Charman, Aarya Doolabh and Zoe Allsopp Lander each brought something completely different here. Tender, desperate and numb, all existing at once. It created this really layered emotional picture that was quietly devastating. “King of the World” - The only song I knew going in, and perfectly assigned to Saul Kavenagh. His tone carried a Jeremy Jordan-like clarity and ease, while still feeling entirely his own. The control, the build and the payoff were just really exciting to witness. “Flying Home” - Jackson Hughesman, I was not prepared for that voice! His falsetto floated, the high belts rang out without a hint of tension. Genuinely stunning. Finale “Hear My Song” - A full-company moment that brought the emotional threads together, reinforcing the show’s themes of hope, uncertainty and new beginnings. This cohort is involved in every aspect of the production. Stage management, dance captaincy, voice captaincy, dramaturgy, dialect work, costumes, props, sets, projections, social media, program design and photography. Their professionalism extends far beyond performance. There were a few noticeable adjustments, likely due to injuries or vocal conservation. Although I'm sure these were handled with care, and the adaptability only highlighted the strength of the ensemble as a team. The audience was filled with QAEMT graduates who were absolutely living for every riff, belt and harmony. The pride in the room was undeniable. This production captures the heart of the show. Hopeful and wary. Brave and uncertain. Bright and bruised. It is not plot-driven theatre. It is emotional, reflective storytelling, and this group clearly understood that. Watching these artists stand onstage singing about stepping into the unknown, knowing they themselves are on the verge of doing exactly that, felt beautifully meta. I look forward to seeing their next performance!

Title: One Act Plays 2026 (Whiskey and Mischief / Perfectly Popping Pears / The Apology) Presented By: Noosa Arts Theatre Genre: One-Act Plays (Comedy / Comedy-Drama) Synopsis: A trio of short plays bringing comedy, chaos, and sharp social observation to the stage: Whiskey and Mischief  follows a reserved Australian man whose life is upended when a chaotic leprechaun bursts in, dragging him into a whirlwind of Irish magic, whiskey, and mayhem. Perfectly Popping Pears  centres on a dinner party teetering on disaster, as Kitty desperately tries to control her household—and a stubborn dessert—before guests arrive. The Apology  is a dark comedy set in a corporate HR meeting room, where a simple mistake spirals into an uncomfortable exploration of accountability and what it truly means to say sorry. Audition Date: 5 May 2026 Audition Time: 6:30pm Audition Location and Address: Noosa Arts Theatre Audition Requirements: No booking required — simply attend on the day Audition Registration: No registration required Enquiries: Jenni McCaul – 0455 547 793 Performance Dates: 9 July – 19 July 2026 Performance Location: Noosa Arts Theatre Performer Age: 18+ Creative Team: Director – Andrew Moon ( Whiskey and Mischief ) Director – Jacqui Mata Luque ( Perfectly Popping Pears ) Director – Liza Park ( The Apology ) Production Website: https://www.noosaartstheatre.org.au/auditions/ Available Roles/Character Breakdown: Whiskey and Mischief (Comedy, by Sheree Veysey) Daniel O’Connor  — Young, reserved Australian man Leprechaun  — Female, 50+, larger-than-life presence, Irish accent Perfectly Popping Pears (Comedy, by Shannon Murdoch) Kitty  — Late 50s / early 60s Bob  — 60s Junie  — 33 The Apology (Comedy/Drama, by Tom Ballard) Graham  — Male, 50+, appears older Laura  — Female, any age Bernadette  — Female, mid-30s to mid-40s

Title: Lovesong Presented By: Allentertainment Genre: Contemporary Drama / Physical Theatre Synopsis: Lovesong  is a tender and unflinching exploration of love across a lifetime. Moving between past and present, two versions of a couple share the stage as their memories echo, collide, and reshape their understanding of each other. Inspired by The Love Song of J. Alfred Prufrock , the play examines memory, ageing, identity, and the quiet intimacy of long-term relationships, set against the emotional weight of a life nearing its end. Audition Date: Sunday 3rd and Tuesday 5th May Audition Requirements: Prepare a contemporary monologue (max 2 minutes) exploring themes of love, loss, memory, or ageing Be prepared for cold readings from the script Wear comfortable clothing suitable for movement work Bring a current headshot and CV Actors with physical theatre/movement experience strongly encouraged Audition Registration: Submit via: https://www.allentertainment.com.au/audition/ Include: Headshot and acting CV Brief cover letter indicating role(s) of interest Any relevant movement/physical theatre experience Audition Pack: https://www.allentertainment.com.au/wp-content/uploads/2026/04/Allentertainment-Lovesong_Audition_Pack.pdf Performance Dates: 29 July – 8 August 2026 Performance Location: PIP Theatre – Savoir Faire, 20 Park Rd, Milton QLD 4064 Rehearsal Dates and Location: TBC (in negotiation with cast and venue) Warnings: Themes include memory loss, dementia, ageing, infertility, voluntary euthanasia, and emotional distressIncludes physical intimacy and movement-based storytelling Performer Age: 18+ Creative Team: Director: Harrison Allen Production Website: https://www.allentertainment.com.au/audition/ Other information: Honorarium: $500 per actor for the season Approx. 90 minutes duration (no interval) Available Roles/Character Breakdown: William (Older)  — Male, 65–75. Stoic, reserved, and introspective. Reflecting on a lifetime of routine, devotion, and quiet regret. Margaret (Older)  — Female, 65–75. Warm, romantic, and ethereal. Navigating degenerative memory loss while holding onto moments of beauty. Billy (Younger William)  — Male, 25–35. Anxious, insecure, and deeply in love. At the beginning of adulthood, balancing ambition and emotional vulnerability. Maggie (Younger Margaret)  — Female, 25–35. Vibrant, modern, and free-spirited. A grounding counterpoint to Billy’s anxiety, full of life and drive.