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Title:  Brainstorm Productions – 2026 Season (Full-Time Touring Actors) Presented By:  Brainstorm Productions Genre:  Educational Theatre / Theatre-in-Education (Primary & Secondary) About: Join one of Australia’s leading school theatre companies performing high-impact shows to 260,000+ students each year on bullying, cyber safety, resilience, mental health and respectful relationships. Actors tour to schools in professional two-hander teams delivering live theatre and post-show discussions. Full-time, paid contracts in Sydney, Brisbane and Melbourne. Audition Date:  Applications open 1 Oct 2025 (self-tape). Callbacks: Mon 10 Nov 2025 Audition Location and Address:  Initial self-tape; in-person callbacks in Brisbane/Sydney/Melbourne (venues advised by email) Audition Self-Tape Due:  5:00pm AEDT, Wed 5 Nov 2025 Enquiries : auditions@brainstormproductions.edu.au Audition Requirements: Complete the online application form (opens 1 Oct 2025) Monologues & self-tape instructions available on the application portal from 1 Oct 2025 Upload audition video: perform one provided monologue, sing “Happy Birthday” unaccompanied, and briefly state why you want to work for Brainstorm & what you’ll bring Attach current CV and headshot Essential criteria: 19+; playing range 16–24; current driver’s licence & good record; fit/healthy; able to travel away from home when required. Singing/physical theatre/dance a plus Brainstorm is a Child Safe Organisation—police check/WWCC required prior to offer 1 ‘female role’ & 1 ‘male role’ Shows:  ‘ Cyberia’ and ‘Saving Lil & Archie’ Performance Dates: 5 Jan – 4 Sep 2026 (possible extension). Performance Times:  Weekdays during school hours; some travel weeks as scheduled Performance Location:  Schools in the actor’s base city (Sydney / Brisbane / Melbourne) with limited touring weeks as scheduled Rehearsal Dates:  Pre-rehearsal 2–5 days prior to contract start. Warnings:  Working with children; driving company vehicles; periods away from home; physically active shows Performer Age:  19+ (playing range 16–24) Creative Team:  Brainstorm’s in-house creatives, teachers and psychologists (scripts regularly updated) Production Website:   https://www.brainstormproductions.edu.au/work-with-us/ Other information: Pay: Above Live Performance Award when performing ($1,482.27/wk before tax in 2025); rehearsals at Award; holiday & sick pay; super; workers comp Allowances: LAFHA $1,371.09/week when away from base; accommodation provided on long away blocks + meals/incidentals allowance Company cars provided.

Presented by Salad Days Collective at PIP Theatre as part of Brisbane Festival Directed by Rebecca Day “Clicking yes I am over 18 with a clear conscience is every 17 year old’s dream.” The Natural Horse  (by T. Adamson) was one of the strangest theatrical escapades I’ve experienced in quite a while. Presented almost like an experimental theatre piece: a collage of vignettes, surreal humour, family chaos, queer teen angst, architectural deep-dives and naturally… a horse chilling in a suburban Wisconsin lounge room. I truly had no idea what to expect next, and judging by the confused chuckles around me, neither did anyone else. The story follows the Kareninas, an ex-Soviet immigrant family whose comfortable home quickly becomes a circus when daughter Masha brings home a horse she found while walking back from school. Masha, played with moody teenage accuracy by Jasmine Prasser , stomped around in baggy pants, heavy eyeliner, purple streaks, a choker necklace and an attitude. She shamelessly flirted with her unsure best friend Charlotte, creating a hilarious tangle of queer longing and awkward sexual tension that felt real enough to sting. Neve Francis performed as the painfully sweet Charlotte. Young, nervous and trying her absolute best to be pure and polite in a household that was anything but. Their scenes together were oddly fascinating, veering between deep confessions, bizarre questions, whispered secrets and very questionable decision making. Calum Johnston played the cheery Soviet dad Anton who rambled, overshared, and embarrassed everyone in his orbit. Lachlan Orton was their exhausted, quietly dissatisfied, heavily pregnant mother Svetka, relying on expressive facial acting to say almost everything he needed. Every sigh, side-eye and drooping shoulder landed. Lines like “I want both of you girls to drink every boy under the table” absolutely flattened the audience. And both their accents were so good that I am convinced half this cast must actually speak Russian. Lauren Dillon  delivered some of the most bizarrely hilarious moments of the show. As Kirk, the neighbour sporting an enormous handlebar moustache, she delivered a monologue that absolutely refused to end and later launched into a karaoke moment that felt like a full acid-trip detour. Were the lyrics improvised? Because I swear they were... And then there was Lil Gemini. Georgina Sawyer was a standout as the autistic-coded, hyper-fixated younger sister who communicated primarily in lists, facts, and wide-eyed stares. Her flat delivery, sudden monologues about Timothée Chalamet, childish tantrums, and oddball conversations were some of the funniest moments of the night. She also had entire conversations with Goodboy the horse, who narrated back in an unexpected posh British accent. Speaking of Goodboy, the horse puppet was golden. (I can't find a photograph of it!) Designed with ramshackle charm and operated with incredible precision by Calum Johnston and Neve Francis, the physical comedy was unforgettable. The poor performer in the back half crouched and shuffled around furniture, squeezed through doorways, humped the couch, conquered stairs and generally caused domestic chaos. The production design leaned into the surreal. Designed by Ada Lukin , the Wisconsin living room was a comforting blend of browns, wood textures, a fireplace, embroidered artworks and a casually mounted gun above it all. Noah Milne’s lighting carved strange and beautiful visual moments, especially during the snow sequence, and New Resource’s sound design heightened the madness with little pockets of whimsy and music. One thing this play captured beautifully was sisterly friction and parental tension. The sniping. The eye rolls. The petty emotional warfare. The dialogue often overlapped like a real family speaking over each other. Then suddenly someone would snap into a monologue, or the lighting would shift, or the horse would trot through the scene, and we were suddenly back in pure absurdism. Scenes were introduced with projected excerpts from Frank Lloyd Wright’s writing. I’ll be honest. I was lost. Utterly lost. Masha even presented a PowerPoint about his work and I still had no idea what architectural rabbit hole we had fallen into. At two hours without  an interval, the play certainly asked a lot of its audience. It felt long and occasionally exhausting. I wasn’t particularly compelled to attempt to decode any deeper meaning either (if any). But I did genuinely care about the characters (and the horse), and the performances across the board were exceptional . Would I watch it again? Probably not. But am I glad I saw it? Absolutely. The Natural Horse  was unlike anything else in Brisbane Festival’s program this year. Salad Days Collective committed wholeheartedly to this wild piece, and while I would love to see them take on an Australian work next, I admire their willingness to go big, go weird and go boldly into the unknown.

Photography by Creative Street Lisa Alsop (Kate), Samantha Sherrin (Elizabeth), Isaac Brown (Lucas) What if one choice — left or right, yes or no, answer or ignore — could change everything? Every choice leads us somewhere, opening one door while closing another. If/Then  is a musical all about those little choices that change our lives in big ways. With its powerhouse score, clever sliding-door narrative, and bold ballads, it’s a rare Broadway gem now landing in Brisbane. This VOX Theatre Arts production is brought to you by producer Rhona Bechaz, director Hayley Gervais , choreographer Ruby Thompson , and music director Alex Angus . I’m here to give you the insider scoop from the team about their own “what if” moments, the challenges of telling two stories at once, and why this production is so special to us. Cameron Rollo (Josh) and Sam Sherrin (Liz) A RARE BROADWAY GEM The story will whisk you away to New York City, where Elizabeth’s life branches into two possible paths: one as Liz (the one with glasses) and the other as Beth , following her down the roads she takes and the ones she leaves behind. Samantha Sherrin  ( Guys and Dolls, Xanadu, Jekyll and Hyde ) takes on the monumental role(s) of Elizabeth. Playing opposite her is the “how can someone so handsome be so awkward” Cameron Rollo  ( Jekyll and Hyde, Company ) as Josh, the army medic whose chance encounter with Liz alters everything. For Samantha, stepping into a role originated by musical theatre royalty Idina Menzel ( Frozen  and Wicked ) has been both daunting and exhilarating. But she is thrilled for audiences to finally see this special show: “There’s so much happening across the multiple timelines that everyone will find something to relate to, especially us over-thinkers and people pleasers!” And for anyone wondering what lesson she takes from Elizabeth’s journey? Samantha believes the message is clear: “This show tells us that whatever is meant for us will find us, and not to get lost in the ‘what might be’s.’” Lisa Alsop  ( Legally Blonde, Carrie ) brings fiery passion as Elizabeth’s fiercely loyal neighbour Kate, alongside Micheal Enright  ( Fun Home, The Addams Family ) as Kate’s partner Anne. Making her stage debut is Amiel Morris  as Elena, Beth’s confidante through her toughest life decisions. Dominic Bradley  ( The Crucible, The Importance of Being Earnest ) takes on the role of Beth’s boss Stephen, while Isaac Brown  ( Ride the Cyclone, Jesus Christ Superstar ) plays her activist friend Lucas, with Jackson Muir  ( My Fair Lady, Chess ) as his romantic interest David. Phew! You still with me? I asked Rhona Bechaz , artistic director for VOX Theatre Arts, what drew her to this stunning 2014 Broadway musical. Confession time: I myself had only ever heard two songs from it now... I know, extremely slack for someone who lives and breathes musicals! Rhona explained: “I was drawn to If/Then for its raw, real stories and characters, and the incredible musical score. I knew that Hayley’s fresh take on the story would be incredible, and I really wanted to see it come to life under her direction.” She’s talking about Hayley Gervais , the well-known artistic director of Phoenix Ensemble, who has directed countless productions and brings her signature heart to this multiverse tale. Micheal Enright (Anne) and Lisa Alsop (Kate) SONGS THAT HIT HARD Our music director Alex Angus  deserves superhero status for steering us through this score and for conducting the formidable 13-piece orchestra. The rhythms in This Day  are wild, the key changes in It’s a Sign  are relentless, and some numbers split into eight-part harmonies that make my brain do flips! For many cast members, the music is what makes this show so powerful. Cameron Rollo  admits: “Isaac’s solo ‘You Don’t Need to Love Me’ hits the hardest for me, with ‘I Hate You’ a close second. Sam’s acting breaks my heart so much that it makes me reluctant to leave the stage, even though my character must do so.” Lisa Alsop  agreed that the emotions come thick and fast when “Samantha Sherrin sings literally anything. She is my theatre crush! ‘Love While You Can’ (a stunning duet between Kate and Anne) is almost impossible to get through without crying.” For Amiel Morris , the impact is equally powerful: “I’ve literally never made it through this show without crying… ‘Always Starting Over’ (the mammoth five-minute ballad from Sam) has a special place in my heart.” And Ryan Bascle , also making his stage debut, added: “‘No More Wasted Time’ knocks my socks off every time. The harmonies of these four powerhouses at once reverberates within my soul. Couple that with a message of breaking out of patriarchal expectations and you get to the heart of what I think this show is about: forging your own path regardless of the direction or outcome.” From my own spot in the ensemble, I can confirm there’s no lull in this score. It’s a true no-skip album, with numbers like What the F*ck ?, Ain’t No Man Manhattan , Surprise , and of course What If?  Each is a multiverse adventure that will leave you breathless to see how profoundly the timelines diverge. Rounding out the ensemble is Molly Parker, Alicia Brite, Casper Haringcaspel, Ryan Bascle, Mark James and yours truly, Samantha Hancock . And let me just say: this ensemble is the hardest-working bunch of NPCs I have ever worked with. We might be background New Yorkers, but we give it our all in every crosswalk, coffee sip, and subway shuffle. Isaac Brown (Lucas) and Jackson Muir (David) CHALLENGES AND REWARDS Tackling a Broadway show this complex isn’t a walk in the park. For Cameron Rollo , the challenge is vocal: “handling the high G# I have to keep singing!"   Jackson Muir  is breaking new ground: “This is the first time I’ve been in a role where my character is in a relationship.”   Dom Bradley  reflected on walking the fine line between Stephen’s flaws and his humanity: “He could be played as a complete asshole, but I like to think he’s got good qualities.” Lisa Alsop  added that part of the reward has been the process itself: “This show has so many different ways it can be interpreted, so it’s been really rewarding hearing each actor’s perspective for their character and working with such a talented group of people to present a considered and impactful performance.” Lisa Alsop (Kate), Amiel Morris (Elena), Sam Sherrin (Beth), Micheal Enright (Anne) WHAT AUDIENCES CAN EXPECT What makes If/Then  unique is its sliding-doors structure. Dom Bradley  said: “I think audiences will enjoy all the times we see a scene twice. There are many moments we do a scene, the worlds swap, then we see it again in the other timeline.” There are plenty of hidden gems too. Lisa Alsop  hinted: “The saga of Kate’s ring is something the audience might not notice, but we’ve put thought into.”  Plus, my own little background romance with “sexy guitar guy” might not be something audiences consciously notice, but it’s a detail we’ve woven into our tracks because this show is all about those unseen choices and connections. Rhona Bechaz adds, “I hope the audience finds special moments of reflection in the story. I personally find so many places where theatre mirrors life, and I know our audience will see themselves in the characters and their stories. I hope they leave with both a tear and a smile — our goal in theatre is to make our audience connect with our stories, and this one absolutely ticks ALL the boxes!” And after being part of the rehearsal room, I can safely say Rhona was right. ADVICE FOR ELIZABETH When asked what advice they’d give Elizabeth, the cast had plenty to say. “Choose out of love, not out of fear,”  said Cameron Rollo . Lisa Alsop’s  response was lighter: “Have a bev and chill out a bit.”   Dom Bradley  went straight to the point: “Make a f* cking decision. Don’t worry about the what-might-have-beens. Just think about what could be.” Ryan Bascle  offered this thoughtful advice: “I think I’d tell Beth the same thing I try to remind myself and others often — trust yourself. You never know if a decision is right until after you’ve made it, so trust yourself to handle it when things don’t go the way you’d hoped, and to be able to appreciate the good things that come while they’re there.” Sam Sherrin (Beth) and Dominic Bradley (Stephen) Like Elizabeth, I have plenty of “what if” moments that replay in my mind. What if I had stayed in the career I was building before COVID pulled the rug out from under me? What if I had never posted that video of me singing, the one that was seen by the right person and swivelled my life in a completely new direction? Would I still be here, telling stories on and off the stage? Or would I be sitting in an office somewhere wishing I had followed the music instead? The roads not taken are always tempting to imagine. That’s why If/Then  hits home for so many of us. It’s not just Elizabeth's story, it’s all of ours. Every decision we make, or don’t make, nudges us in a new direction. Being part of this show reminds me that while we can’t live both timelines, we can choose to embrace the one we are in fully. As the lyric says, “You learn to love the not knowing...” Yes, you’ll laugh, you’ll cry, and you’ll leave reflecting on your own “what if” moments. Performances run at Arcana, 46 Evesham Street, Moorooka on Friday 10 and Saturday 11 October. Tickets are $49 (concession $45, groups 10+ $39) and are available now ! One woman. Two paths. Infinite possibilities.

Ipswich Musical Theatre Company | Book, Music & Lyrics by Irene Sankoff & David Hein Directed by Thomas Armstrong-Robley Music Direction by Matt Rofe Choreography by Simon Lind Photography by Justin Marriner Ipswich Musical Theatre Company delivered a deeply moving and impressively polished production of Come From Away , a story that has travelled the world yet somehow felt right at home in this community setting. Before the show even began, the pre-show airport announcements, the sticker map marking where audience members were “from,” and the fully visible set instantly transported us to Gander Airport in Canada. Wooden and plastic crates, metal sheeting for wings, and crisp multimedia projections created a rugged environment that looked part-airport terminal, part-makeshift shelter. For anyone new to the show, Come From Away  recounts the astounding true events of September 11, 2001, when airspace over New York shut down and 255 planes were diverted across Canada. Thirty-eight of those planes landed in Gander, Newfoundland, dropping almost 7,000 stranded passengers into a town whose population nearly doubled overnight. Among them was Beverly Bass, the first female captain of American Airlines. Drawing from interviews with locals, pilots, and flight crews, writers Irene Sankoff and David Hein crafted this musical capturing five extraordinary days of fear, generosity, humour, and humanity. It remains one of the most powerful reminders of how compassion can (and should) rise from tragedy. Director Thomas Armstrong-Robley  and choreographer Simon Lind  embraced the show’s famously complex staging with intensity and precision. With each actor playing multiple characters and the set constantly shifting through chairs, tables, crates, and bodies, this production required perfect timing. The pacing felt urgent without being rushed, driven by pounding percussion, jet-engine soundscapes, and an ever-present undercurrent of chaos because... “I can’t watch the news anymore!" Grant Couchman  set the tone with his commanding voice in “Welcome to the Rock,” leading an ensemble that worked with near-military discipline. From there, the performances never dipped. Amy McCormick  brought youthful sincerity and excellent accent work to Janice, the local news reporter. Stu Fisher’s portrayal of the diligent policeman Oz was a comedic delight, featuring a booming voice that never failed to make an impact. Kate Retzki  as Bonnie radiated headstrong determination as she cared for the animals onboard, while Jacqui Cuny’s Beulah glowed with maternal warmth. She truly felt like the Gander mother hen, offering comfort to all. Danika Saal delivered a moving portrayal of Hannah. Her far-too-short solo, “I Am Here,” carrying the full weight of a mother’s panic as she waited for news of her son in New York. Georgia Spark’s Beverly Bass was sensational as Beverly Bass, handling the lengthy solo “Me and the Sky” with beautiful vocals and grounded storytelling (pun intended). I loved the way the cast circled her for this number, especially the all-female crew; an image that beautifully honoured the trailblazing pilot she portrayed. Georgia also had a fantastic Texan “teacher voice”, commanding the space with easy authority. Jacob Ballard  offered crystal-clear diction and thoughtful acting as Kevin T, leading “Prayer” with a stunning, angelic vocal line. Michael Fitzpatrick , Daniel Walton , Barry Haworth , Justin Harreman , and Bronte Mitchell  provided humour, heart, and seamless shifts between characters. Special mention must go to Stuart Manuel, who made his stage debut as Ali and gave a wonderfully natural performance, navigating the racial tensions of the moment with honesty and control. Staging-wise, “28 Hours” captured the mass hysteria with clever blocking that eventually settled into humour (the liquor onboard certainly helped!). “Darkness and Trees” was chilling, while “On the Edge” surged with epic lighting design and emotional panic. “Heave Away” offered a joyful burst of live musicians onstage (far too briefly) and treated us to a dance-off with Simon Lind's choreography. Vocally, the show was exceptional. “Somewhere in the Middle of Nowhere” filled the theatre with soaring harmonies, and “Lead Us Out of the Darkness” used reverb to beautiful effect. The nine-piece band, led by MD Matt Rofe , sounded phenomenal and anchored the show throughout, even when hidden from view. The emotional aftermath was handled with great care. “Something’s Missing” was bathed in soft, evocative lighting, with grief and rage flickering across faces as the reality of loss finally landed. I found myself thinking again and again about the exhaustion these real passengers must havefelt: the fear, the homesickness, the survivor’s guilt... and how remarkable it was that this tiny town met them with such kindness instead of hostility. There were almost no flaws in delivery, sound, or staging. This was a huge, ambitious undertaking, and Ipswich Musical Theatre Company more than rose to the challenge. Though I couldn’t name every single performer in this exceptionally large ensemble, please know that each one contributed to a cohesive, special, and powerful piece of theatre. This production honoured the real people and real events behind Come From Away , reminding us once again of the best parts of humanity during the very worst of times.

Title:  OZ (Inspired by Wicked  and The Wizard of Oz ) Presented By:  Toowoomba Ballet Theatre (TBT) Genre:  Dance theatre – ballet, jazz, contemporary, acrobatics (all-styles) Synopsis: A large-scale, original TBT production inspired by the worlds of Wicked  and The Wizard of Oz . Expect an ensemble-driven adventure through Emerald-hued realms with feature moments for classical, contemporary and acro specialists. Created to showcase regional dancers in a full professional venue with cinematic scale. Audition Date:  Sunday 9 November 2025 Audition Time:  Class times advised after registration (grouped by age) Audition Location and Address:  TBT Studios, 9 Railway St, Toowoomba City QLD Audition Self-Tape Due (if applicable):  Video auditions accepted; due Sunday 2 November 2025 Audition Requirements: Register online and upload a headshot (clear, recognisable). In-person audition (preferred): short classical technique class (+ pointe if appropriate), taught combos, and an optional solo (≤2 min) in your best style (classical, contemporary, jazz, acro, etc.). Special skills on apparatus (e.g., lyra/silks) may be submitted by video. Video audition option (if you cannot attend): include barre/centre, solo/variation and any skills footage (clearly identify the dancer). What to wear: Plain leotard and ballet tights for classical; fitted shorts/half-tutu permitted for solo. No costumes/props. Hair in neat classical style. You may miss up to three rehearsal days for pre-existing studio commitments (catch-up via rehearsal videos required). Audition Registration:   https://form.jotform.com/251982516106861 Audition Pack:  2026 Prospectus (dates, fees, policies): https://www.toowoombaballettheatre.com.au/audition Performance Dates:  Sunday 19 April 2026 (matinee & evening) Performance Location:  Empire Theatre, Toowoomba Rehearsal Dates: Sundays in Term 1 (Studios):  8, 15, 22, 29 March 2026 School Holidays – Week 1 (Studios):  Mon 6 – Fri 10 April Photo Day:  Sat 11 April School Holidays – Week 2 (Studios):  Mon 13 – Fri 17 April Stage Rehearsal:  Sat 18 April Performer Age:  8+ (age as at 1 Jan 2026). No upper age limit. Adults (18+) welcome. Other information: Registrations close:  Sunday 2 November 2025 (strict). Fees:  Production fee $849 per dancer (includes rehearsals, costume hire, production shirt, 2x tights, videography, insurance/admin). Deposit $250 (non-refundable) secures your place after offer. Adults (18+) receive 50% fee reduction. Payment plans available. Casting is at the Artistic Director’s discretion; some dancers may shadow/understudy roles. Available Roles/Character Breakdown: This is an original, Oz-inspired creation. Casting will be built around the company’s strengths with roles drawn from Emerald City citizens, witches, wizards, travellers, guardians, and realm creatures. Opportunities for: Classical/neo-classical features  (court/emerald ensembles, waltzes, lyrical solos) Contemporary & character work  (witches’ courts, citizens, storytellers) Jazz & musical-theatre numbers  (city scenes, travellers, guards) Acro/contortion/tumbling  highlights (creatures of the realms, storm sequences)

Title:  &Juliet Presented By:  Empire Theatre, Toowoomba Genre:  Jukebox Pop Musical (Music & Lyrics by Max Martin and Friends; Book by David West Read) Synopsis: What if Juliet’s ending was really just her beginning? Bursting with pop anthems by artists like Britney Spears, Katy Perry, and the Backstreet Boys, & Juliet  flips Shakespeare’s tragedy on its head. With Anne Hathaway (Shakespeare’s wife) taking control of the quill, Juliet embarks on a journey of self-discovery, independence, and joy. A hilarious, heart-filled celebration of love, identity, and rewriting your own story. Audition Dates:  Friday 24 – Monday 27 October 2025 Audition Time: Fri 24 Oct: 6:00–9:30pm Sat 25 Oct: 9:00am–5:30pm Sun 26 Oct: 9:00am–5:30pm Mon 27 Oct: 6:00–9:30pm Audition Location and Address:  The Empire Theatre (Church Theatre), 54–56 Neil Street, Toowoomba QLD Audition Requirements: Singing:  Prepare two own-choice songs in musical theatre pop style (approx. 32 bars/1 min each). Backing track or accompanist required (no vocals on tracks). Acting:  Short script excerpt (provided with confirmation email). Prepare lines for max two roles. Cold reads and direction may be given. Dance:  Compulsory group movement/dance call (taught on the day). Wear clothes you can move in; no jeans, sandals, or restrictive clothing. General:  Expect 10 mins for sing/act and 45 mins for dance. Must be 16+ years (by 1 Dec 2025). Audition Registration:   Apply online Audition Pack:   Download here Performance Dates: Friday 13 March 2026 – 7:30pm Saturday 14 March – 7:30pm Sunday 15 March – 2:30pm Friday 20 March – 7:30pm Saturday 21 March – 7:30pm Sunday 22 March – 2:30pm ( Additional shows may be added to meet demand ) Rehearsal Dates:  From Saturday 17 January 2026 Rehearsal Times: Saturdays & Sundays: 9:30am–5:30pm Mondays & Tuesdays: 6:00–9:30pm ( Detailed weekly schedule in audition pack. Tech/dress from 7–12 March 2026 ) Warnings: Production features mature themes, relationship content, intimacy, and LGBTQIA+ representation. Dance/movement is required for most roles. Performer Age:  16+ Creative Team: Director:  Tim Hill Choreographer:  Tess Hill Music Supervisor:  Luke Kennedy Production Website:   https://empiretheatre.com.au/auditions Other Information: Orchestra & backstage opportunities available (email: orchestra@empiretheatre.com.au  or productions@empiretheatre.com.au ) Available Roles/Character Breakdown: Principal Roles Juliet  – Bold, independent, rewriting her own fate. (F3–F#5, strong MT pop belt). Anne Hathaway  – Witty, assertive wife of Shakespeare; challenges his work and rewrites Juliet’s story. (A3–E5). William Shakespeare  – The Bard himself, playful, egotistical but reluctantly adaptable. (Db3–Bb4). May  – Juliet’s non-binary best friend; sensitive, funny, and deeply authentic. (G3–A4, pop). Angelique  – Juliet’s nurse, loyal but yearning for independence. (E3–E5). Francois  – Shy, awkward young Frenchman pushed into duty, discovers new love. (Bb2–B4). Lance  – Francois’s stern father with a surprising soft side. (F2–F4, French accent). Romeo  – Juliet’s dramatic ex-lover; charming, chaotic, and irresistible. (E3–E5). Ensemble Roles Judith, Richard, Lucy, Eleanor  – Shakespeare’s troupe; colourful, comedic, and versatile. Lord Capulet / Lady Capulet  – Juliet’s authoritative parents; powerful presences. Benvolio  – Romeo’s loyal, fun-loving best friend (played by femme track). Femme Players  – Interchanging roles (Susanna, Rosaline, Helena, Portia, etc.); sopranos/altos with belt. Masc Players  – Interchanging roles (Augustine, Henry, Gregory, etc.); tenor/baritone/bass, strong pop vocals.

Title:  School of Rock (Musical) Presented By:  Passion Productions Genre:  Rock Musical / Comedy Synopsis: Based on the hit film, School of Rock follows wannabe rock star Dewey Finn who fakes his way into a substitute teaching gig at an elite prep school—then secretly turns his class into a kick-ass band bound for Battle of the Bands. It’s rebellious, high-energy, and all heart. Audition Date:  Saturday 6 December 2025 (group calls) Audition Time:  You’ll be allocated a 60-minute group slot after registering Audition Location and Address:  Northgate Hall, 71 Scott St, Northgate QLD 4013 Audition Requirements: Dance:  Learn the combo in advance (taught briefly on the day). Choreo video in pack. Singing (Adults):  30–45 sec each of two MT songs — one rock style + one classical/traditional MT. Singing (Kids):  30–45 sec own choice song and set cut of “Stick It to the Man” (link in pack). Acting:  Cold reads may be requested at audition or callbacks; no prep needed. Bring a device for your backing tracks; wear clothes/shoes you can move in. All performers 18+ must hold a current Blue Card. Audition Registration:   Register for a timeslot (Airtable) Audition Pack:   Info Pack (PDF) Performance Dates:  10–12 April 2026 (possible extension to 18 April based on sales) Rehearsal Dates:  From Sunday 18 January 2026 (full schedule linked in pack) Rehearsal Times:  Thursdays 6:30–10:00pm & Sundays 10:00am–4:00pm (Bardon Hall) Callbacks:  Sunday 7 December 2025, 2:00pm at Northgate Hall Warnings: Family musical with mild language and references (swearing by adult and child cast in context), references to alcohol/drugs, characters defying authority. Full list of scripted words provided in the Info Pack. Performer Age: Adults & teens: 15+ (adult ensemble/roles); Kids’ roles as per character list below. Production Website:   https://www.passionproductions.com.au/auditions Other information: Community theatre; unpaid, no production fees or mandatory membership. Cast may be asked to assist with sourcing basic costume pieces/props (designer-approved). Available Roles/Character Breakdown: Adults Dewey Finn  (mid-20s–30s) – High rock tenor (B2–E5, head belt). A lovable, chaotic rock tragic who transforms his class into a band. Strong comedy/improv; basic guitar a must. Rosalie Mullins  (mid-20s–30s) – Soprano with operatic top and strong belt (A3–D6). Strict headmistress with a buried rock heart. Precision, authority, and a secret love of Stevie Nicks energy. Ned Schneebly  (mid-20s–30s) – Rock bari-tenor (C3–F#4). Ex-rocker turned timid man-child under Patty’s thumb; Dewey’s old mate. Patty Di Marco  (mid-20s–30s) – Belt (B3–E5). Ned’s no-nonsense partner; pragmatic, protective, and allergic to Dewey’s chaos. Adult Ensemble  – Teachers, parents, and featured cameos (e.g., Jeff Sanderson – Battle of the Bands manager; Theo/Doug/Bob/Snake – No Vacancy; Stanley; Security Guards 1 & 2). All vocal ranges; character acting; light movement. Kids – Instrumentalists   (playing the instrument is a strong plus but not always mandatory) Zack  (guitar) – (A3–D5) Gifted but stifled; angry at not being heard. Finds voice through lead guitar. Lawrence  (piano/keys) – (A3–D♯5) Shy brainiac; blossoms under Dewey’s encouragement. Freddy  (drums) – (A3–D5) Boundless energy; rough-around-the-edges kid who channels it at the kit. Katie  (bass) – (A3–D5) Cool, calm anchor of the band. Minimal fuss, maximum groove. Kids – Non-Instrumentalists / Featured Tomika  – (A3–G5) New kid with powerhouse voice; quiet until she isn’t. Soulful belt. Summer  – (A3–D5) Type-A class leader; self-appointed manager who keeps Dewey honest. Marcy & Shonelle  – (A3–G5) Sassy, tight backing vocalists; blend and stage presence. Billy  – (A3–D5) Budding fashionista; comic flair with heart. Mason  – (A3–D5) Tech whiz; clever problem solver. Sophie, James, Madison  – (A3–D5) Ensemble kids with pop/rock vocals; learn multiple tracks.

Title:  Deal With It Presented By:  Emma Hanson Productions Genre:  Dark Comedy / Contemporary Theatre Synopsis: Alix’s roommate Bridget is strange: she’s never around and behind on rent. But when that changes overnight, it leaves Alix’s partner Max deeply suspicious. Why is there blood in the apartment? Can Bridget be trusted? The devil is in the details. Deal With It  is a dark comedy tackling themes of patriarchy, bodily autonomy, inherited misogyny, and cycles of violence. Written with gender-inclusive casting, the play challenges traditional power dynamics through intimacy, humour, and horror. Audition Date:  Sunday 5th & Monday 6th October 2025 Audition Time:  Individual 15-min sessions (book via form) Audition Location and Address:  Backbone, 28 Tallowwood St, Seven Hills QLD 4170 Audition Self-Tape Due (if applicable):  Video auditions available on request; send to emhansone03@gmail.com Audition Requirements: Prepare two monologues (1 min each): one of your choice, one provided from audition material. Be ready for cold reads on the day. Bring a CV and headshot. Auditions are by appointment only. Callback: Tuesday 7th October. Some auditions may be filmed for casting/marketing. Audition Registration:   Book audition here Audition Pack:   Audition Material (Google Doc) Performance Dates: 28 January 2026 – Preview 29 January – Opening Night 30 January – Evening 31 January – Matinee & Evening 1 February – Matinee & Evening 4 February – Evening 5 February – Evening 6 February – Matinee & Evening 7 February – Matinee & Evening Performance Times:  Evenings (6:30–7pm starts), weekend matinees 1–2pm approx. Performance Location:  Pip Theatre, Milton Rehearsal Dates: 19 October – Table Read 28 December – Rehearsal Start 4–24 January – Wednesdays, Fridays, Sundays 25 January – Bump-in 26 January – Tech 27 January – Dress Run Rehearsal Times:  Evenings (7–9:30pm) & Sundays (afternoons). Warnings: This production includes intimacy and fight choreography, licensed coordination, fake blood, partial nudity, violence, misogyny, and death depictions. Performer Age:  20s preferred for lead roles (18+ minimum). Creative Team: Producer: Emma Hanson Co-Director: Aimee Sheather Co-Director: Aarya Dath Stage Manager: TBA Production Website:   https://emmaelizabethhanson.wordpress.com/ Other information: Compensation:  Flat fee $300 (non-union). Cast must be comfortable with intimacy direction and sensitive content. Applications close 3 October 2025 (11:59pm). Rehearsal resources provided at table read; near-off-book expected by January. Available Roles/Character Breakdown: Bridget  – Woman, early–mid 20s. Complex, unsettling; intimacy scene with John. Partial nudity. Alix  – Early–mid 20s (any gender). Bridget’s roommate, devoted to partner Max. Movie buff. Intimacy with Max. Max  – Early–mid 20s (any gender). Aspiring novelist, devoted to Alix. Intimacy with Alix. Paul  – Man, mid–late 20s. Overbearing, eccentric. Man (Derrick)  – Man, mid–late 20s. “Soy boy” energy. Jake  – Man, early–mid 20s. Dude-bro. John  – Man, mid–late 20s. Charismatic delivery driver; intimacy scene with Bridget. Zizi  – Pre-cast. The Devil/Beelzebub.

"OMFG - Oh My Fairy Godmother" Presented at Phoenix Ensemble, IQ Productions’ Disenchanted was a night of cheeky chaos and sassy princesses, all wrapped up in a concert-style extravaganza. Imagine a feminist fairy-tale fever dream where every storybook heroine decides she's had enough, snatches a microphone, and spills the tea on everything that has been on her mind. Directed by Louella Baldwin and with choreography by Isabelle Quayle , the team leaned into this whimsical satire with full commitment, crafting a slightly deranged cabaret that seemed like an absolute blast to be part of! The opening number One More Happ’ly Ever After set the vibe immediately. Snow White, Cinderella, and Sleeping Beauty burst onstage with killer vocals and girl-group energy. Ally Hickey as Snow was the sassy, witty, and confident ringleader of this princess posse. Kaitlyn Burton gave Cinderella a wonderfully ditzy charm (my pick for strongest character work of the night). Mikaela Bobart played the dry, deadpan humour of Sleeping Beauty before surprising me with her angelic but booming vocals in Perfect . And the tap break from Ally, Loretta Melit, and Kaitlyn was a fun bonus! Chynna Santos was fierce as Mulan, absolutely obliterating the patriarchy in her solo Without the Guy . Her comedic timing had that “first time ever performing this” kind of spark. She and Kaitlyn fed off each other perfectly, with a cheeky, natural rhythm. Rhea Basha has a voice that could make a siren jealous, but she went full-on gremlin mode as Ariel in Two Legs (loved the crazy eyes!) Then she flipped the script and dazzled us all as a snappy, sassy Jasmine in Act Two. Meanwhile, Nadia Low's Pocahontas broke my heart during Honestly , serving up a down-to-earth performance with some beautiful belts and a costume that was one of my top picks of the night. Speaking of costumes: Breanna Gear absolutely understood the assignment. The Six -inspired silhouettes, the holstered mics, the clever little details — Cindy’s shoes, Ariel’s fork bracelet, the leaf ornament in Pocahontas’ hair — it was all spot on and so much fun to clock from the audience. Act Two shook up the casting. Loretta Melit , who had crushed it in Act One as Belle in Insane , stormed back in as an aggressively German, underpaid Rapunzel for Not Von Red Cent. Despite batling a lost voice (which definitely deserves a medal), she somehow managed to stir up our small audience into a frenzy with her energy! Senuki Thotahewage as Tiana absolutely nailed my favourite song of the entire show Finally , complete with a quick costume change, insanely good vocal runs, and fabulous choreography that had me crossing my fingers she'll get to play Tiana for real one day. Snow’s song A Happy Tune? is honestly my new personal anthem, and the finale Once Upon a Time was a killer closer, even if some lyrics got swallowed in the sound mix. And I can't forget the number Big Tits , which was just as bonkers as the title suggests! The band trio of Marcelle Gun, Phil Kan , and the maestro of melodies, Benjamin Richards , kept the performers grooving with a lively sound. Their reactions to the onstage shenanigans cranked up the fun too. The humour was very American in style, loaded with stereotypes and intentionally provocative. As a lifelong Disney lover, I could appreciate the parody even if the show itself was not entirely my cup of tea. Despite the small audience on the evening I went, the cast still delivered full energy to make it a chill and fun evening with just enough audience participation to keep us safe from the spotlight (thank goodness!). In the end, Disenchanted ! was chaotic, colourful, and packed with strong vocals, witty tidbits, and characterful details. Photography by Puddleduck Pictures

TINA — A Tropical Love Story absolutely lit up the Brisbane Festival, blending the sultry pulse of the tropics with the unstoppable electricity of Tina Turner herself.   This vibrant drag-cabaret hybrid, created and performed by the magnetic Miss Ellaneous (Ben Graetz), unfolded as a heartfelt love letter to Darwin, to identity, and to the Queen of Rock ’n’ Roll. From the moment the show launched into “Higher”  with a burst of sequins and choreography, the packed house roared in approval... and they never quieted down! Graetz, born in 1977 and raised on disco, swept us through stories of growing up in Darwin and the life-altering moment a young First Nations boy watched Tina Turner dominate the stage in 1993. Those memories flowed beautifully between numbers, accompanied by projections, haze, and twinkling light poles that shimmered like raindrops. The wigs? Iconic. The heels? Crazy. The legs in those heels? Show-stopping. The soundtrack used live Tina concert tracks, giving the entire night a pulsing, stadium-concert feel. Local talent Garret Lyon delivered a moody and soulful “I Can’t Stand the Rain,”  while Kristal West belted the Tina  musical’s arrangement of “River Deep, Mountain High.”  Even if she didn’t quite hit the hurricane-force energy that song demands, her vocal runs were fabulous.   And then there's the costumes: vibrant, sparkly, and fabulous! Ben’s third look, a Tina dress inspired by the Aboriginal flag, had me floored. Miss Roymata Holmes (Martoya Jackson) strutted through “Simply the Best” in full blonde-wig glory, dedicating the number to First Nations performers everywhere. Between the sultry “Private Dancer” moment, the fierce confidence in “What’s Love Got to Do With It?”,  and a tender rainbow-community duet of “We Don’t Need Another Hero”  with Garret and Kristal, the show held space for joy, resilience, and pride. As Ben said, “She connects us in so many ways.”     By the finale, the crowd was itching to get on their feet. This show would thrive in a venue like The Tivoli or Fortitude Music Hall where dancing is encouraged! A dazzling, heartfelt celebration of country, community, and the icon who helped a young boy find himself. Please bring this one back — Brisbane wants more!

Title:  Shrek the Musical (Holiday Workshop Production) Presented By:  Communication in Action Genre:  Musical Theatre (Comedy, Family, Fantasy) Synopsis: Based on the Oscar-winning DreamWorks Animation film, Shrek the Musical  is a hilarious and heartfelt fairy-tale adventure. With larger-than-life characters, irreverent humour, and show-stopping songs, this production turns the classic fairy-tale world upside down while celebrating friendship, acceptance, and the joy of being different. Everyone who auditions will be cast, making it a full-scale ensemble experience with opportunities for performers of all levels. Audition Date:  Sunday 26 October 2025 Audition Time: Group 1: 2.00–3.30pm Group 2: 3.30–5.00pm Audition Location and Address:  Thomas Dixon Centre, West End Audition Self-Tape Due (if applicable):  26 October 2025 Audition Requirements: Enrolment in the program is required before audition materials will be sent. Final role distribution at director’s discretion. All performers will be cast in the ensemble or featured roles. Video auditions accepted if unable to attend in person. Audition Registration:  Via enrolment form at communicationinaction.net Performance Dates:  Saturday 17 January 2026 Performance Location:  Talbot Theatre, Thomas Dixon Centre, West End Rehearsal Dates:  Monday 12 – Saturday 17 January 2026 (Holiday Workshop Week) Rehearsal Times:  9.00am – 3.00pm daily Performer Age:  Open to students in Year 3 and up (school year in 2026 – current Year 2s may enrol). Creative Team: Director:  Tim Hill Choreographer:  Justin Anderson Vocal Coaching provided as part of workshop tuition. Production Website:   communicationinaction.net Other Information: A preparatory Shrek Musical Theatre Masterclass  is available prior to auditions for skill development. Dates:  Sunday 12 & 19 October 2025 Time:  2.00–5.00pm Venue:  Thomas Dixon Centre, West End Cost:  $120 + GST (6 hrs tuition total) Limited places to ensure personalised attention. Available Roles/Character Breakdown: Shrek  – The grumpy but lovable ogre with a big heart. Fiona  – A princess with a secret, feisty and funny. Donkey  – Shrek’s wisecracking, loyal companion. Lord Farquaad  – The comically villainous ruler with a larger-than-life personality. Dragon  – Fierce, sassy, and soulful. Pinocchio, Gingy, Three Little Pigs, Three Bears, Wicked Witch, Ugly Duckling, Fairy Tale Creatures  – Ensemble of bold, comedic characters with strong singing and acting moments. Ensemble:  Villagers, Guards, and Fairy-Tale ensemble roles with group singing/dancing.

Title:  Bonnie & Clyde Presented By:  Phoenix Ensemble Genre:  Musical Synopsis: Set in Depression-era America, Bonnie & Clyde  tells the electrifying story of Bonnie Parker and Clyde Barrow, small-town dreamers whose hunger for fame and escape from ordinary lives leads them down a path of love, crime, and infamy. Their daring heists, turbulent romance, and relentless pursuit of freedom make them both heroes and villains in the public eye. Featuring a thrilling score blending blues, gospel, and rockabilly, Bonnie & Clyde  is a sexy, action-filled tale of two of history’s most notorious lovers, leading to their inevitable and tragic downfall. Audition Date: Group Dance & Vocal Workshop (all auditionees):  Thursday 16 October 2025 — 6:30pm or  8:00pm (90 minutes) Individual Auditions (Principals + Preacher):  Saturday 18 October 2025 — 9:00am–3:00pm Callbacks (by invitation):  Tuesday 21 October 2025 — from 7:00pm Audition Location and Address:  Phoenix Ensemble, Pavilion Theatre (“Tin Shed”), Beenleigh Showgrounds, James St, Beenleigh QLD Audition Requirements: All auditionees must attend a group dance & vocal session. You will learn a short routine and vocal harmony in groups. Wear movement clothes and closed shoes. If auditioning for Principals (Clyde, Bonnie, Buck, Blanche, Ted, Preacher): Prepare two contrasting songs (max 1 min each) in the style of the show. Bring a backing track on an AUX/Bluetooth device (speakers/adaptors provided). Prepare one of the provided monologues (Southern American accent). This does not need to be memorised. Ensemble auditionees need only attend the group workshop unless also auditioning for featured tracks. Southern American accents are required for all roles. Audition Registration:  Book your slot via phoenixensemble.com.au/audition Audition Pack:   Download here (PDF) Performance Dates:  Friday 20 February – Saturday 7 March 2026 (3-week season) Performance Times:  Fridays & Saturdays (evenings), Saturday matinees (no Sundays) Rehearsal Dates:  Commence Sunday 9 November 2025. Rehearsal Times:  Mondays & Wednesdays 7:00–10:00pm; Sundays 1:00–6:00pm. Holiday break: 22 Dec 2025 – 2 Jan 2026. Sitzprobe: Sunday 1 February 2026. Tech/Final rehearsals: From Monday 9 February 2026. Rehearsals and Performance Location:  Phoenix Ensemble, Pavilion Theatre, Beenleigh Showgrounds Warnings: Contains intimacy, stylised violence, firearms, adult themes, and passionate physicality. An intimacy coordinator will be engaged to ensure safety. All cast must be 18+ by the first rehearsal, except for Young Clyde and Young Bonnie, who will be cast separately at a later date. Performer Age:  18+ (excluding youth roles). Creative Team: Director:  Kym Brown Musical Director:  Sally Faint Choreographer:  Julianne Clinch Production Website:   phoenixensemble.com.au/audition Other Information: Phoenix Ensemble is a community company; all roles are voluntary/unpaid. Cast must become financial members by the first rehearsal and hold (or obtain) a valid Blue Card. Available Roles / Character Breakdown: Clyde Barrow Male-presenting, stage age: 21 Vocal range: A2–C5 (high tenor belt). Reckless and magnetic; a small-town boy craving fame and notoriety. Charismatic, daring, impulsive, and utterly in love with Bonnie. Requires stamina, vocal power, and strong physical presence. Bonnie Parker   Female-presenting, stage age: 20 Vocal range: G3–F5 (mezzo belt). A beautiful, ambitious waitress and poet, torn between love and fame. Headstrong, stubborn, and vulnerable. Chemistry with Clyde essential; must handle intimate and emotionally charged material. Marvin “Buck” Barrow   Male-presenting, stage age: 25–35. Vocal range: B2–G4. Clyde’s loyal older brother, torn between his outlaw life and Blanche’s disapproval. Adventurous but conflicted. Needs strong acting depth to balance bravado with moral struggle. Blanche Barrow   Female-presenting, stage age: 25–35. Vocal range: G3–Eb5. A devout and moralistic woman; deeply religious, righteous, and disapproving of her husband Buck’s choices. Provides comic relief and emotional grounding. Ted Hinton   Male-presenting, stage age: 25–30. Vocal range: C3–A4. A kind police officer caught between his duty and his unrequited love for Bonnie. Honest, earnest, and gentle, but ultimately on the opposite side of Bonnie and Clyde’s world. Ensemble / Featured Roles  — Each ensemble member covers featured tracks: Cumie Barrow:  Clyde & Buck’s mother, pragmatic and weary. Female-presenting, 30–50. Emma Parker:  Bonnie’s mother, supportive but fearful. Female-presenting, 25–40. Governor Miriam Ferguson:  Strong and authoritative. Female-presenting, 35+. Sheriff Schmid:  Relentless lawman pursuing Bonnie & Clyde. Male-presenting, 35+. Preacher:  Gospel powerhouse; requires strong tenor (A2–C5). Male-presenting, 35+. Henry Barrow:  Clyde & Buck’s father, weary and resigned. Male-presenting, 30+. Deputy Bud:  Young, naive; Clyde’s first victim. Male-presenting, 20–40. Judge / Captain Hamer:  Stern, commanding, final pursuer of the couple. Male-presenting, 40+. Ensemble also appears as townsfolk, church congregation, bank/store customers, police, and guards, often with solos or spoken lines. Young Clyde  — Male-presenting, around 10. Treble/unbroken voice (B3–A5). Young Bonnie  — Female-presenting, 10–15. Vocal range: C#4–C5. Contemporary tone required.