Title: Finding Nemo KIDS Presented By: Brisbane Junior Theatre Genre: Youth Musical / Family Musical Synopsis: Based on the beloved Pixar film, Finding Nemo KIDS follows anxious and overprotective clownfish Marlin as he journeys across the ocean to find his son, Nemo, who has been captured and taken to Sydney. Along the way, Marlin meets the optimistic and forgetful Dory, while Nemo discovers his own courage with the help of his new friends in a fish tank. Featuring familiar characters, colourful underwater adventures, and songs including “Just Keep Swimming,” “Fish Are Friends Not Food,” and “Go With the Flow.” Audition Date:Saturday 12 September 2026 Audition Time: 1:00pm, 2:00pm, or 3:00pm audition sessions. Callbacks at 4:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner QLD Audition Requirements: Auditions are required for performers wishing to be considered for a lead role, minor role, featured dancer position, or solo. Every child who auditions is guaranteed a place in the cast. Audition Registration: Text 0438 896 436 to book an audition time. To book the optional Audition Intensive, text the same number. Performance Dates: Wednesday 23 September 2026 and Thursday 24 September 2026 Performance Location: Emerge Church, 1 Coorparoo Road, Warner QLD Rehearsal Dates: 19–23 September 2026 Performer Age: Students in Grades 1–6. Production Website: Brisbane Junior Theatre Other information: A production fee is payable on audition day. The production runs as an intensive school-holiday program, with rehearsals taking place from 19–23 September before performances on 23 and 24 September. Everyone who auditions will be included in the cast; the audition process is used to allocate principal, minor, featured dance, and solo opportunities. An optional Audition Intensive will be held on Saturday 5 September, 12:00pm–3:00pm at Emerge Church, Warner. Students will have the opportunity to learn the audition material in advance and receive feedback. Cost: $50. Available Roles/Character Breakdown: Nemo – A curious, adventurous young clownfish who wants to prove that he is capable of independence. A central role requiring strong acting and singing. Marlin – Nemo’s loving but extremely cautious father. After Nemo is captured, Marlin must overcome his fears and cross the ocean to find him. Requires strong character acting and singing. Dory – An upbeat, friendly blue tang with short-term memory loss who becomes Marlin’s travelling companion. A major comic role requiring lots of personality, energy, and confident vocals. Coral – Nemo’s mother, appearing at the beginning of the story. A warm and caring featured role. Professor Ray – Nemo’s enthusiastic teacher who leads the young sea creatures through their underwater lessons and adventures. A lively featured character. Bruce – A large great white shark determined to prove that “fish are friends, not food.” A strong comedic character with plenty of personality. Chum & Anchor – Bruce’s fellow sharks and members of the sharks’ fish-friendly support group. Featured comedic roles. Gill – The experienced and determined leader of the Tank Gang. He takes Nemo under his fin and helps him find the courage to escape. Bloat – A pufferfish and member of the Tank Gang. A fun supporting character with opportunities for comedy. Peach – A starfish who keeps watch from the side of the dentist’s fish tank. Observant, enthusiastic, and part of the Tank Gang. Gurgle – A germ-conscious royal gramma who is particularly nervous about anything dirty entering the tank. Bubbles – An energetic yellow tang with an enormous fascination with bubbles. Nigel – A friendly pelican who knows the Tank Gang and helps Marlin and Dory in their search for Nemo. Crush – A laid-back sea turtle who helps Marlin learn to loosen his grip and trust Nemo. A fun character role with a relaxed surfer personality. Squirt – Crush’s energetic young turtle. A lively featured role. Darla – The dentist’s excitable niece and a terrifying prospect for the fish in the tank. A highly comedic character role. Sea Creatures / Fish / Turtles / Sharks / Jellyfish / Seagulls / Tank Gang and Ensemble – Numerous ensemble and featured opportunities throughout the musical, including singing, dancing, character work, and potential solo moments.

The Murder Room Presented by: New Farm Nash Theatre Date attended: 15 August 2026 Playwright: Jack Sharkey Director: Sharon White Stage Manager: Laura McIntosh Set, Lighting, Sound Design: Phil Carney and Sharon White Costumes and Props: Sharon White and John Mann I left The Murder Room with two crystal-clear realisations: one, it is totally bonkers, and two, I really wanted to be part of it! Written by American playwright Jack Sharkey, the farce takes the familiar British whodunnit and gleefully spoofs it with shades of Fawlty Towers and Monty Python’s Flying Circus in its deadpan humour and daft logic. We immediately meet with wealthy Edgar Hollister and his shiny new wife, Mavis. Their marriage is going just splendidly (if you count infidelity, poisoned cocoa, and attempted murder). It doesn’t take long for Mavis' evil plans to go awry. Soon enough, Edgar’s daughter Susan, her fiancé Barry, housekeeper Lottie, and Inspector Crandall find themselves tangled in a wild mystery of vanishing bodies and misleading information. One of my favourite things about the play’s construction is that the audience isn’t left stumbling around in the dark. Instead of playing detective and piecing everything together with the characters (like in most whodunnits), we get a front-row seat to the chaos, watching everyone trip over red herrings, overlook obvious clues, and make questionable deductions. There’s particular satisfaction in watching Mavis concoct yet another wobbly explanation, only for someone to stroll in and hilariously ruin it. Sharon White keeps the pace brisk and the tangled dialogue easy to follow. Farce can quickly become painful if scenes drag, punchlines disappear, or the audience loses track of everyone’s motives. Here, cue pickups were crisp, diction clear, and pauses well judged. The script deliberately loops back on itself as people lose their train of thought, contradict earlier statements, misinterpret simple facts, and circle around the same issue from different angles. It takes precision to make that kind of repetition funny, and this ensemble had it. All six performers shared the same dry comic sensibility, supported by strong accents and distinct personas. No one outshone anyone else, and they all equally rank as my favorite characters. John Mann as Edgar Hollister looks straight out of an old-fashioned country-house mystery, sporting a red velvet smoking jacket, grey wig, and moustache. With all the airs of a snooty aristocrat, he fumbles around blissfully unaware of his own ridiculousness. Mann brilliantly plays this mix of pomp and oblivion for laughs. He also gets another entertaining character opportunity later on that is best left unexplained. Phillippa White as Mavis barely steps foot in the room before she’s spinning lies faster than a merry-go-round. Her face does half the work, with eyebrows, grimaces, flashes of panic, and a look of strained innocence that reveals exactly how quickly her brain is working. Her voice, polished to a high shine, and sparkling outfits complete Mavis’ carefully cultivated upper-class image. Robyn Stumm takes on the role of the quintessential Cockney housekeeper Lottie. It appears that she knows absolutely everything while somehow failing to pass the useful facts on to anyone who needs them. She might not win any awards for helpfulness, but she’s got the lovable factor down to an art. Stumm lands some of Sharkey’s funniest lines with matter-of-fact dryness, and it’s a hoot watching everyone run around conducting an elaborate investigation while Lottie already holds half the answers. Jonathan Knox is the epitome of a British inspector if I ever saw one. He brings an eager enthusiasm to Inspector Crandall, dutifully gathering clues from a household that gets more convoluted by the second. His accent and delivery fit neatly into the heightened world of the play. Plus, his goofier side emerges as the investigation turns into a circus of absurdity. His ability to oscillate between moments of intensity and comedic relief proves his versatility as an actor. Madelyn Scott as Susan Hollister is like a walking sunshine emoji, with the posture of a mannequin, giddy enthusiasm, childlike trust, and blissful ignorance. With her headbands, pearls, cardigans, full-skirted dresses, and proper dialect, Susan floats above reality like a balloon. Scott nails Susan’s habit of blurting out her thoughts, especially when she gets caught in those dizzying verbal exchanges that go round and round in circles. Drew Russell plays Barry Draper, the lone American dropped among this collection of eccentric Brits. His argyle sweater vests, cheesy grin, and constant politeness perfectly match the persona of this wealthy young heir. Barry is clearly baffled by the dysfunction surrounding Susan, yet remains completely devoted to her (despite the pair having known each other for like twelve minutes.) Russell gives Barry just enough common sense to stand out from the Hollisters, while still fitting comfortably into the farce. The drawing-room set by Phil Carney and Sharon White features muted blue-green walls, floral furniture and timber pieces, a rotary phone, and the portrait of the late Mrs. Hollister overseeing it all. Hidden drawers and secret-passage elements gradually reveal the room's own tricks. The lighting design is put to particularly good use during a blackout tussle over a gun. As for the sound design, gunshots, phone calls, doorbells, and the unmistakable sound of somebody falling down the basement stairs keep the unseen parts of the house busy too. Costumes add to each personality, from Mavis’s divine dresses and Susan’s prim silhouettes to Barry’s sweater vests, Lottie’s uniform (and pink pajamas), and the traditional getup for the Constable. There’s also a dead cat puppet... Sharon White has built this puzzle carefully. Lies collide with clues, inconvenient facts surface at the wrong moment, and plot twists keep reshaping what everyone thinks they know. The full house at Nash Theatre was happily along for the ride, chuckling throughout and eventually letting out a collective groan as the final act sent us around yet one more circle. At around 90 minutes plus interval, it moves quickly enough that I stayed invested through to the final tangle. The cast earn every laugh with their impeccably-rehearsed timing. The Murder Room is an easy must-see for fans of murder mysteries, British farce, or silly ensemble comedy. New Farm Nash Theatre has brought together six talented actors who perfectly capture the spirit of the material. I would definitely see it again.

Title: The Art of Doing the Washing Presented By: Travelling Rose Theatre Genre: Contemporary Drama / New Work Synopsis: The Art of Doing the Washing follows three young creatives — a filmmaker, a writer and an actor — who are struggling to survive, create and even keep up with mundane chores such as doing the washing. Their lives are suddenly infiltrated and made more difficult by the existence of generative AI. The work explores the impact of AI on artists and creative practice, ultimately presenting a strong condemnation of AI's role in the lives of artists. It is a text-based work incorporating physical movement to support the storytelling. Audition Date: September 5th - 6th, 2026 Audition Time: Individual timeslots will be allocated following submission of the audition form. Preferred windows are: Saturday 5 September, 9AM – 12PM Saturday 5 September, 12PM – 5PM Saturday 5 September, 5PM – 9PM Sunday 6 September, 9AM – 12PM Sunday 6 September, 12PM – 5PM Audition Location and Address: In-person auditions. Exact location not specified. Audition Requirements: Prepare a 2–3 minute contemporary dramatic monologue that demonstrates your acting range and emotional capabilities. Auditionees will also participate in a cold read of an excerpt from the script. All roles require actors to portray multiple minor characters and switch rapidly between characters. Auditionees should be prepared for text-based and physical performance work. Audition Registration: Complete the online audition request form: Audition Request Form – The Art of Doing the Washing Early submissions receive priority when considering preferred audition times. Audition Pack: The Art of Doing the Washing Audition Pack Performance Dates: Friday 18 December 2026 – Professional Photography / Dress Runs Saturday 19 December 2026 – 2 performances Sunday 20 December 2026 – 2 performances Performance Times: Not specified Performance Location: Studio 1, 190 Station Road, Yeerongpilly QLD 4105 Rehearsal Dates: Weekly rehearsals, scheduled around the availability of the selected actors. Rehearsal Times: To be determined based on cast availability. Rehearsal Location: Not specified Warnings: The production explores contemporary and potentially confronting themes surrounding generative AI, artists, creative industries and the pressures of survival. Further content warnings not specified. Performer Age: 18–28 playing age for all advertised roles. Creative Team:Writer/Director: India Rose India Rose is a multidisciplinary theatre maker, actor, writer, costume designer and director. Her directing credits include her original works Daydreamer (2023, 2024 and 2025) and Truth; From a Liars Lips (2024), as well as the Matilda-nominated Crow’s Nest (2025). Other information: This is a new original work. The production uses a combination of text-based performance and physical movement. All three principal actors will be required to play multiple minor characters and transition rapidly between roles. People of all ethnicities and cultures, Indigenous and Torres Strait Islander performers, LGBTQ+ performers and actors with disability are strongly encouraged to audition. Payment will be through a profit-share agreement, to be signed by all cast and crew members. Auditionees must confirm on the audition form that they have read the audition package and are available for the required performance dates. The audition form requests a headshot and CV. Contact for questions: India02smart@outlook.com Available Roles/Character Breakdown: Jenna - Fem-presenting, playing age 18–28.An aspiring author with a vivid inner world filled with characters who seem to explode into her real life. Jenna must learn how to become an active participant in the story. Finch - Masc-presenting, playing age 18–28.An aspiring filmmaker who falls prey to the predatory nature of AI. He must learn how to escape its influence before he becomes part of the problem. Addy - Fem-presenting, playing age 18–28.An aspiring actor who is constantly undermined and pushed to the sidelines. Passion comes easily to Addy, and fighting feels like the solution — they just can't figure out where to direct it.

Title: All About Eve & Sunset Boulevard Presented By: MATES Theatre Genesis Inc. Genre: Classic Radio Plays / Drama Synopsis: MATES Theatre Genesis Inc. presents two classic LUX Radio Plays adapted for the stage. All About Eve - A seemingly sweet fan, Eve Harrington, worms her way into the life of aging Broadway star Margo Channing and secretly plots to steal Margo’s roles and friends. Based on the screenplay by Joseph Mankiewicz and adapted for radio by Sanford H. Barnett and Robin Jones. Sunset Boulevard - Broke screenwriter Joe Gillis accidentally meets Norma Desmond, an aging and forgotten silent film star living in a decaying mansion. After accepting a job editing her screenplay, Joe becomes increasingly entangled in Norma’s delusions and obsession. Based on the screenplay by Billy Wilder, Charles Brackett and D.M. Marshman and adapted for radio by Sanford H. Barnett. Audition Date: Thursday September 3rd, 2026 Audition Time: 10AM - 1PM Audition Location and Address: Redland Uniting Church Hall, 36 Passage Street (corner Queen Street), Cleveland QLD. Audition Requirements: Group audition involving a cold read from the script. No lines need to be memorised. Actors may perform with the script in hand. These are radio plays, so strong vocal performance is particularly important. American accents are required, except for Max in Sunset Boulevard, who is European. Microphones will not be used. It is not essential for performers to be the same age as their characters; vocal suitability is more important. A recent headshot is requested, although a clear selfie is acceptable. Bring a copy of the audition form and headshot to the audition. Audition Registration: Complete the audition form from the audition pack and email it with a recent headshot/photo to info@matestg.org.au. Auditionees should also bring a copy of the form and headshot to the audition. Audition Pack: Download the Audition Pack Here Performance Dates: Saturday 17 October 2026 Tuesday 20 October 2026 Thursday 22 October 2026 Saturday 24 October 2026 Performance Times: All performances are 1:00pm matinees, with actors called at midday. Performance Location: Redland Uniting Church Hall, 36 Passage Street (corner Queen Street), Cleveland QLD. Rehearsal Dates: Tuesday and Thursday mornings/afternoons from 8 September to 8 October 2026, with technical/dress rehearsals on 13 and 15 October. Rehearsal Times: All About Eve: 10AM – 12:15PM Sunset Boulevard: 1:45PM – 3PM Technical/Dress Rehearsals: 10AM – 3PM, all cast required. Rehearsal Location: Redland Uniting Church Hall, 36 Passage Street (corner Queen Street), Cleveland QLD. Warnings: Sunset Boulevard contains mature themes, including Joe Gillis's exploitation/prostitution and Norma Desmond's obsessive and delusional behaviour. The production uses a stylised, exaggerated performance approach reflecting mid-20th-century theatre and radio drama. Performer Age: All ages welcome. Creative Team: Director – All About Eve: Ian Stevenson Director – Sunset Boulevard: Elizabeth Morris Production Website: MATES Theatre Genesis Inc. Other information: This is an amateur community theatre production and all cast and crew positions are unpaid. Successful cast and crew members must become financial members of MATES. Membership is $20 per year and must be paid by the first rehearsal. Actors can perform with scripts in hand and will not be required to memorise their lines. All rehearsals and performances take place during daylight hours. Cast members may be required to assist with costumes and props. Actors provide their own shoes and personal items such as makeup. Successful cast and crew are expected to attend rehearsals, publicity appearances, photo shoots and media calls as required. Applicants should list all known scheduling conflicts on their audition form. MATES is seeking not only actors but also Foley artists, stage crew and front-of-house volunteers. StageworX Script Readings: Optional free script readings will be held before auditions: Thursday 20 August – 9:30am–12:00pm Tuesday 25 August – 1:00pm–3:30pm Cleveland Library, Room 2, corner Bloomfield & Middle Streets, Cleveland. These readings are optional and open to everyone. Available Roles/Character Breakdown: Roles in Both Plays John Milton Kennedy – The Announcer William Keighley – The Host Libby Collins – Hollywood reporter The Foley Operator – Creates sound effects live on stage. This role may be shared. All About Eve Margo Channing – A leading but aging Broadway star. Eve Harrington – Margo's seemingly innocent and devoted fan who becomes Margo's assistant and ruthlessly schemes to steal her life and career. Addison DeWitt – A cynical and manipulative theatre critic. Lloyd Richards – Karen's husband and Margo's playwright. Karen Richards – Margo's close friend and Lloyd's wife. Bill Simpson – A successful film and theatre director and Margo's fiancé. Birdie Coonan – Margo's blunt, sharp-witted dresser and loyal friend. Claudia Casswell – An ambitious young actress with only three lines. Other minor roles will be allocated from the cast during rehearsals. Sunset Boulevard Joe Gillis – A cynical, jaded, struggling screenwriter who serves as both narrator and a character in the story. Norma Desmond – A faded and eccentric former silent-film star who believes she is still "the greatest star of all". A complex femme fatale with grandiose theatrical mannerisms and delusions. Betty Schaefer – An optimistic, ambitious young script reader and writer who becomes Joe's love interest. Max von Mayerling – Norma's loyal butler, biggest fan and protector who continually feeds her delusions. Artie Green – Joe's helpful best friend, engaged to Betty. Sheldrake – A busy movie studio boss. Irene Martin – An intermission guest. Old Guard – Paramount gatekeeper who recognises Norma as a star. Young Guard – Paramount gatekeeper who does not know Norma. Lieutenant – Police officer, two lines. Captain – Police officer. Detective – Police officer, two lines. Additional Opportunities Foley/sound effects Stage crew Front of House Placard/sign holders for cues such as SILENCE, ON AIR and APPLAUSE Costume and props assistance Other production support roles.

Title: Compost Capers Presented By: Maleny Players Genre: Christmas Pantomime / Comedy / Family Theatre Synopsis: Compost Capers is a locally written Christmas pantomime packed with music, songs and laughs. The production welcomes performers of all ages and experience levels to come together for a fun-filled festive production. Audition Date: Sunday August 30th, 2026 Audition Time: 10AM Audition Location and Address: The Playhouse, Maleny Showgrounds, Maleny QLD Audition Requirements: No previous performance experience is necessary. Auditionees are asked to bring enthusiasm and a willingness to have fun. The audition will take approximately 1.5 hours. Audition Registration: No formal registration details provided. Auditionees are encouraged to attend on Sunday 30 August. If you cannot make the scheduled audition, contact Maleny Players to arrange another time. Performance Dates: December 5th - 13th, 2026 Performance Location: The Playhouse, Maleny Showgrounds, Maleny QLD Performer Age: All ages – children, teens and adults Creative Team: Locally written production by Maleny Players. Production Website: Maleny Players - Compost Capers Other information: The production will feature music, songs and comedy. Opportunities may be available both on stage and behind the scenes. Anyone interested in helping with the production is encouraged to get involved. Enquiries: Kim – 0411 965 663 | malenyplayersproductions@gmail.com Available Roles/Character Breakdown: Specific roles and character breakdowns have not been provided. Casting is open to children, teens and adults, with opportunities both on stage and behind the scenes.

Title: The Little Mermaid Jr Presented By: BG Performing Arts Genre: Musical Theatre / Youth Theatre Synopsis: Cost: In a magical underwater kingdom, the beautiful young mermaid, Ariel, longs to leave her ocean home — and her fins — behind and live in the world above. But first, she'll have to defy her father, King Triton, make a deal with the evil sea witch, Ursula, and convince the handsome Prince Eric that she's the girl whose enchanting voice he's been seeking. Audition Date: Sunday August 30th, 2026 Audition Time: 9AM - 12PM Audition Location and Address: 12 Jamieson Street, Bowen Hills QLD 4006 Audition Requirements: Attendees will participate in a vocal, acting and dance session for our creative team to assess where each performer will best fit within the show. Please bring appropriate shoes, sweat towel, sufficient water and snacks and anything else you may need! (We will provide all paper materials) Please wear clothing that you can easily move in (you will be dancing) and enclosed shoes. Jazz shoes are recommended but not necessary. For the most positive audition experience, students are encouraged to have their songs and monologues learnt off by heart so they can perform with confidence. Materials can be found via the Dropbox link provided. Audition Registration: Register for your audition here. Audition Pack: Little Mermaid Jr Audition Pack Performance Dates: Saturday October 3rd, 2026 Performance Times: 2PM & 6PM Performance Location: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178 Rehearsal Dates: September 28th - October 3rd, 2026 Rehearsal Times: Mon - Thurs - 9AM - 3:30PM Fri - 9AM - 6:30PM Sat - 10AM - 7:30PM Rehearsal Location: Mon - Thurs - Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Fri & Sat - The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178 Performer Age: This is a youth production for 6-13 yr olds. All participants must be at least 6 years old by the date of performance. Creative Team: Director/Choreographer - Bella Gordon Music Director - Kate Baxter Production Website: BG Performing Arts - The Little Mermaid Jr Other information: Workshop costs - $400 Auditions are required for lead, minor role, featured dancer and soloist Available Roles/Character Breakdown: Please see audition pack for available characters/descriptions.

Starry Night Presented by: Australian Performing Arts Conservatory (APAC) Venue: PIP Theatre Date Attended: 5 August 2026 Writer: Adam Szymkowicz Director: Sean Dennehy Assistant Director: Nathanael Hammond Intimacy Coordinator: Heidi Gledhill Musical Director: Shannan Evison Musical Director and Arranger: Simon Chamberlain Voice Coach: Marcus Oborn Photography: Joe Nucifora “Everything important is a little scary.” Hearing the opening notes of Don McLean’s ‘Vincent’ had me convinced that I knew where Starry Night was heading. It’s a ballad that I know intimately. APAC’s musical theatre students opened the show with a gorgeous a cappella arrangement. Their wistful, warm, slightly melancholic harmonies unfolded beneath projections of Vincent van Gogh’s artwork. Despite the title, Adam Szymkowicz’s Starry Night is in fact not a play about Van Gogh. The painting becomes a source of comfort for Ashley. She is learning how to carry on after losing Eric, her partner and best friend. Directed by Sean Dennehy, the play unfolds through interconnected vignettes over one night in a small lakeside town. People paint, write in journals, swim, go fishing, sit beneath the stars, confess feelings, and try to understand one another. Ashley moves in and out of these encounters, observing other people’s stories while slowly piecing together her own. Existentialism runs through the veins of this play. Its characters think about timing, possibility, identity, relationships, and all the uncertainty that comes with being alive. Szymkowicz threads these ideas through ordinary human behaviour; awkward, shy, defensive, curious... Every character seems to be reaching for something, even when we only meet them for a few minutes. That vignette structure gives the APAC ensemble plenty of brief moments to make their mark before the play drifts on to somebody else’s story. Zoe Joy Smith carried much of the production as Ashley, moving through these other people’s stories while grief keeps pulling her back to her own. Smith has a naturally strong, clear voice that easily fills the space. At times, however, that strength worked against the more intimate sections of the script. Ashley’s asides to the audience sounded much the same as her direct conversations with the characters. A greater contrast in volume, rhythm, and focus would distinguish her private narration and make it feel like we were being let a little further inside her head. Still, Smith has the considerable task of carrying the bulk of the dialogue, and Ashley remains our steady point of return. As Eric, Giorgio Impiccini exists through Ashley’s memories and imagined conversations with the man she lost. Within those recollections, Impiccini brought tenderness and warmth to Eric, while maintaining that bittersweet sense that he is just out of reach. Later, he accompanied himself on guitar for ‘A Horse with No Name’ (joined by the musical theatre students) in another glimpse of Ashley’s memories. Music has an extraordinary power to suddenly return us to a person, place, or moment. And for a few minutes, Ashley has him back with her. Jordan Pearce gave a thoughtful performance as Herbert, Ashley’s steady companion, source of comfort, and remarkably patient friend, even if he occupies the uncomfortable position of ‘second choice’ in her life. Herbert is fascinated by all the possible directions their lives could have taken, while Ashley is less willing to indulge his “what ifs”. The rest of the ensemble are given slivers of stage time and make the most of them. Xavier Witney stood out whenever he appeared and was also responsible for one of the funniest interludes, alongside Troy Cations, as two fishermen sharing an enjoyably peculiar conversation. Cations also got a wonderfully strange monologue when Ashley imagines that a dog she meets on a walk can speak to her. Finally given the chance to air every frustration, anxiety, and grievance he has with his humans, the dog provided one of my favourite detours of the night. I would happily watch Cations take on more comedy roles. Lauren Shaw also brought a lovely sincerity to her journal confession scene, while Skye Gerke appeared comfortable and natural onstage in hers. Both suggested strong acting instincts that I’d be interested to see more of. Nadia Thivy, Jazmyn Rademacher, Jordan Wendt, and Nathanael Hammond rounded out the ensemble across the play’s many fleeting encounters. There is plenty of lyrical writing within Starry Night. Several beautiful lines needed a moment of silence after them. But the dialogue was delivered at a fast pace, which meant some of the play’s poetry passed by before it had time to settle in the mind. This was particularly important within Ashley’s grief. She reads Eric’s journals, imagines conversations with him, and tries to reconstruct someone who is no longer there. One of the most affecting lines comes when she admits, “I miss hearing what he thinks about things.” It’s such a simple description of loss, but such a truthful one. You don’t only lose someone’s presence. You lose their opinions, reactions, jokes, and all the tiny pieces of them that existed alongside you. Visually, the production created a rather lovely little world. Movable black blocks sat amongst artificial grass, flower beds, and leafy scenery borrowed from PIP Theatre’s concurrent production of Love Song. A flowering tree framed one side of the stage, while the greenery established the lakeside setting. Projections of Van Gogh’s artwork gave the production a distinct atmosphere and connected Ashley’s attachment to The Starry Night with its themes of memory, beauty, and finding light within darkness. Lighting worked beautifully with the projections, with silhouettes against the lake making these private conversations seem very small beneath one enormous night sky. The ensemble appeared in black, white, and denim, while Ashley, Herbert, and Eric wore yellow to echo the glowing colours of the painting. Vincent Van Gogh's final words were “The sadness will last forever.” Starry Night allows grief to be enormous without allowing it to become the only thing in the room. Life continues around Ashley, and healing is found in conversations, friendships, shared stories, choices, and the willingness to let another person become important to you. We begin amongst melancholy and memory beneath a painting filled with stars, then finish with the ensemble singing ‘Here Comes the Sun’. It’s a lovely musical bookend, taking us from Van Gogh’s loneliness towards the promise that darkness eventually gives way to light. As one character wisely advises, “Enjoy being young, but try to be a bit less dumb, please.” These characters are all attempting exactly that, learning how to live, love, lose, and begin again. The production gave its emerging performers an interesting challenge, requiring them to shift quickly between comedy, naturalism, philosophy, and grief. Starry Night is a thoughtful little play, and Dennehy’s production finds plenty of sweetness, humour, and hope along the way.

Title: The Prom: School Edition Presented By: BG Performing Arts Genre: Teen Musical / Musical Theatre Synopsis: The Prom: School Edition follows four eccentric Broadway stars whose careers have stalled and who are desperate for a new cause to revive their public profiles. When they discover that a student in a small Indiana town simply wants to attend prom with her girlfriend, they travel to the town to support her. Their arrival turns the local prom upside down and brings the community together in an uplifting story about acceptance, equality, friendship and being true to yourself. Audition Date: Sunday August 30th, 2026 Audition Time: 12:30PM - 5:30PM Audition Location and Address: 12 Jamieson Street, Bowen Hills QLD 4006 Audition Requirements: Please familiarise yourself with all the dance, vocal and acting materials provided in the Dropbox link. You have the choice to participate in the intermediate or advanced dance call. A demonstration video for both calls are available and we strongly encourage learning the choreography prior. Please bring any necessary acting/vocal materials, appropriate shoes, sufficient water, sweat towel, snacks and anything else you may need. Audition Registration: Register for The Prom auditions here Audition Pack: The Prom Audition Pack Performance Dates: Saturday September 26th, 2026 Performance Times: 2:30PM 7:00PM Performance Location: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178. Rehearsal Dates: Monday September 21st – Saturday September 26th, 2026 Rehearsal Times: Mon - Thurs - 9AM - 5PM Fri - 9AM - 8:30PM Sat - 10AM - 9:30PM Rehearsal Location: Mon - Thurs - Bowen Hills Studio, 12 Jamieson Street, Bowen Hills QLD 4006 Fri & Sat - The Star Theatre, Wynnum SHS, 5 Peel Street, Manly QLD 4178 Performer Age: 14 – 18 years Creative Team: Director - Sam Caruna Choreographer - Bella Gordon Musical Director - Kate Baxter Production Website: BG Performing Arts – The Prom: School Edition Other information: This is a school holiday musical theatre workshop and performance program rather than a conventional auditioned mainstage production. Workshop dates are Monday 21 September–Saturday 26 September 2026. The program is designed for performers aged 14–18. Workshop cost: $400. The final performance will be presented twice on Saturday 26 September. Tickets are $35 for ages 3+. BG Performing Arts describes itself as a Brisbane youth performing arts school providing professional training in musical theatre, dance and related performance disciplines. Available Roles/Character Breakdown: Emma Nolan | Teenager in Indiana. A reluctant poster child for LGBT youth. Very smart. A bit of a tomboy quality. Alyssa Greene | A cheerleader and top student. Secretly Emma's girlfriend. Faces constant pressure from her mother and friends. Tom Hawkins | The straitlaced school principal. An ally to Emma and a long-time fan of Dee Dee. Mrs Greene | Alyssa's intimidating, conservative, but ultimately loving mother. The head of the PTA. Shelby, Kaylee, Nick, Kevin | Other students at school who bully (but who eventually learn to accept) Emma. Barry Glickman | Flamboyant Broadway star. Completely politically incorrect and doesn't know it. Longs to give Emma the prom he was unable to have as a teen. Dee Dee Allen | Broadway diva. A huge ego to match her huge talent. Hilariously self-involved, but yearns to do something goof for someone other than herself. Trent Oliver | Pretentious Juilliard graduate recently cast in the non-Equity tour of Godspell. Loves to hear himself speak. Angie Dickinson | An ensemble member in the Broadway production of Chicago. Jaded Fosse girl with a heart of gold. Sheldon Saperstein | A charismatic press agent. Ensemble | Olivia Keating, Opening night party attendees, Reporters, High school students, PTA members, Motel Clerk, Cast of the non-equity tour of Godspell, Monster truck rally audience, Mrs Greene's friend, LGBT Students.

Title: Finding Nemo JR Presented By: Phoenix Arts Academy / Phoenix Ensemble Genre: Junior Musical / Family Musical Synopsis: Finding Nemo JR brings the beloved underwater adventure of Nemo, Marlin and Dory to the stage. The story follows Nemo, a curious young clownfish born with a "lucky fin", as he embarks on an adventure that takes him far from home. His anxious and overprotective father, Marlin, sets out to find him, meeting an unforgettable cast of sea creatures along the way, including the optimistic Dory. The production explores family, courage, friendship, adventure and learning to embrace the things that make us different. Audition Date: Saturday August 29th, 2026 Audition Time: 10AM – 11:30AM – Junior Ensemble Group Audition 12PM – 1:30PM – Leads & Senior Ensemble Group Audition 2PM – 5PM – Lead & Featured Senior Ensemble Individual Audition Audition Location and Address: Phoenix Ensemble, Beenleigh Showgrounds. Access via the gate at 60 James Street, Beenleigh QLD. Audition Requirements: Junior Ensemble – Prep to Grade 4: Participate in a group dance and singing workshop. Learn a short routine and part of a song. No preparation is required. Students in Grades 3–4 wishing to audition for Nemo must also attend an afternoon individual audition. Prepare 30 seconds–1 minute of a song from a Disney movie or musical. Sing with a backing track with no lead vocals. Bring a device or USB containing the backing track. A YouTube link is also acceptable. Lead Roles & Senior Ensemble – Grades 5–12: Participate in the group dance and singing workshop from 12:00pm–1:30pm. No preparation is required for the group session. Students wishing to be considered for a lead or featured Senior Ensemble role must also attend an afternoon individual audition. Individual auditions will be conducted in groups of four, with approximately 30 minutes per group. Prepare 30 seconds–1 minute of a song from a Disney movie or musical. Backing track must not contain lead vocals. Bring a device or USB containing the backing track. A YouTube link is also acceptable. Present acting scenes with a partner. Audition scenes are provided in the audition pack and do not need to be printed or memorised, although auditionees are encouraged to read through them several times beforehand. Senior Ensemble – Ensemble Only: Students who only wish to participate in the Senior Ensemble and attend the reduced rehearsal commitment do not need to complete the individual audition. Auditionees should wear comfortable, casual clothing suitable for movement and closed-in shoes. Sneakers are recommended; dance shoes are welcome but not required. Bring a bottle of water. Audition Registration: Register for Finding Nemo JR auditions Audition Pack: Finding Nemo JR Audition Pack Performance Dates & Times: Friday 2 October 2026 – 6PM Saturday 3 October 2026 – 10AM & 1PM Performance Location: Phoenix Ensemble, Beenleigh Showgrounds Rehearsal Dates: September 21st - October 2nd, 2026 Rehearsal Times: Monday–Friday, 9AM - 3PM daily, except Friday 2 October, which will have a later start before the first performance. Rehearsal Location: Phoenix Ensemble, Beenleigh Showgrounds Performer Age: School-aged students from Prep to Grade 12 in 2026 Creative Team: Director: Julianne Clinch Music Director: Kym Brown Production Website: Phoenix Arts Academy - Finding Nemo Jr Other information: The production is open to all school-aged students from Prep to Grade 12 in 2026, not just current Phoenix Arts Academy students. Casting will be gender fluid depending on the diversity of participants. Students may be cast as characters of a different gender, and character genders may be changed where appropriate. There are no strict age restrictions for individual roles. The creative team will consider each student's strengths, preferences and suitability for the role. Lead roles will have solos and dialogue to memorise. Lead Roles & Featured Senior Ensemble - Participants will attend the full 10-day project from 21 September–2 October, plus all performances. Junior & Senior Ensemble - Participants will attend the first Monday and the second week of the project, plus performances. Production Fees - Lead Roles & Featured Senior Ensemble: $300 Production Fees - Senior & Junior Ensemble: $200 Fees cover production costs including scripts, backing tracks, costume pieces, some base costume elements that participants will keep after the production, and a show T-shirt. Students must bring their own lunch and snacks each day and will likely need to provide their own performance shoes. Available Roles/Character Breakdown: Nemo - A curious young clownfish born with a "lucky fin", who brims with wonder and eagerness for adventure. Marlin - Nemo's anxious and overprotective father, who prefers the safety of his anemone to the unknowns of the open ocean. Dory - An optimistic, bubbly and sociable blue tang who experiences frequent short-term memory loss. Junior Ensemble | Prep–Grade 4. The Junior Ensemble participates in group singing, dancing and scenes as: Reef Kids Moonfish Turtle Kids Gulls Supporting roles cast from the Junior Ensemble: Pearl - An excitable and friendly flapjack octopus. Sheldon - An H₂O-intolerant seahorse with an appetite for trouble. Squirt - The fearless, buoyant offspring of Crush the turtle. Tad - A self-admittedly obnoxious butterflyfish. Senior Ensemble | Grades 5–12. The Senior Ensemble participates in group singing, dancing and scenes as: Assorted Fish Sharks Jellyfish Turtles Gulls Supporting Senior Ensemble Roles – Solo Singing Bubbles - A friendly yellow tang who is captivated by bubbles and exclusively uses the word "bubbles" to communicate. Bloat - An open-minded and supportive blowfish who is proud to be part of the Tank Gang. Gurgle - A nervous royal gramma fish who enjoys the regulated cleanliness of the aquarium tank. Peach - A mature, down-to-earth starfish who offers guidance and reassurance to all. Gill - A relentless and inspiring leader with a set of battle scars and a torn fin who will stop at nothing to return to the freedom of the ocean. Professor Ray - Nemo's enthusiastic, encyclopaedic stingray teacher. Bruce - The intimidating ringleader of the sharks who is dedicated to adopting a vegetarian diet. Anchor & Chum - Two of Bruce's loyal shark cronies. Crush - A laid-back, 150-year-old sea turtle who knows how to hang loose. Supporting Senior Ensemble Roles – Acting Coral - Nemo's brave mother and Marlin's wife. Nigel - A friendly, sharp-eyed pelican who is proud to know all the local happenings of Sydney Harbour. Reef Kids' Parents - Supporting acting roles within the ensemble.

Freshblood Festival 2026 Presented by: Vena Cava Productions Venue: VENTspace, South Brisbane Date Attended: 9 August, 2026 Festival Theme: RISK IT! Shows reviewed: It’s Always the Wife, Winging It, Rule of 4, Making a Killing, and Is Our Roommate a Nazi? Freshblood is an annual festival devoted to new work from emerging writers, directors, performers... And this year’s theme was RISK IT! Creatives were encouraged to unleash their wildest ideas, experiment with form, design, and performance, and try things they might not usually get away with in a more traditional festival brief. With nine MainStage productions, four play readings, musicians, and visual artists, the vibe was all about making the weird stuff and seeing what comes of it. I couldn’t catch everything though! I missed Endangered Species, Flat Earth Party, We Are in Your House, Things We Shouldn’t Talk About, and the play readings, so this isn’t a review of Freshblood in its entirety. Instead, consider this a reflection on the particularly comedy-heavy corner of the festival I did manage to see. It’s Always the Wife Writer/Director: Christina McMahon Production Manager: Mitchell Pyke Cast: Abigail Thomas, Jaimee Jessop, Maddison Grace, Zara McCarthy, Noah Redshaw, Jack Winrow, and Alex Thompson It’s Always the Wife wastes absolutely no time throwing us into the whodunnit puzzle. Jaimee Jessop and Jack Winrow kick things off as an older married duo engaging in some magnificently clumsy marital relations, only for the husband to dramatically drop dead. Abigail Thomas enters as the detective who has been just itching for a murder to solve. Accompanied by her emotional support teddy bear, she barrels into the investigation with enormous confidence and little competence. Christina McMahon’s script takes the familiar conventions of a whodunnit and film noir, then cheerfully fills them with nonsense. Characters break the fourth wall, dialogue tips into absurdity, and perfectly placed sound effects keep everything moving. Meanwhile, the cast understand exactly how seriously they should be taking this (not very). Winging It Writer/Director: Laura Szabadics Sound Designer: Will O’Shaughnessy Lighting Designer: Bridget Kerwin Vision Designer: Charley Tusler Cast: Reid McWha, Josh McQueen, Aidan Calleja, and Abigail Thomas “There’s something freaky going on inside this house.” Set in 2080 in Birdsbane, three roommates live inside a futuristic funhouse where birds are the superior species, doors can lead absolutely anywhere, the kitchen is extremely difficult to locate, and a mysterious voice from above (Abigail Thomas) provides instructions of varying usefulness. Laura Szabadics’ script is absurd, clever, existential, and very strange. Each new discovery kicks the roommates into another scenario, so the piece has the loose, anything-could-happen energy of improv even though the physical sequences are obviously tightly rehearsed. Reid McWha, Josh McQueen, and Aidan Calleja are well matched here. Their mime, reactions, timing, and physical comedy are so coordinated that scenes feel spontaneous. With no physical set or props to rely on, they have to build the house entirely through movement, interaction, and shared imagination. They’ve also got MOVES. Sort of... Every “door” presents another possibility, from time travel to increasingly bizarre corners of this bird-controlled universe. There’s Big Bird (in the Big Brother sense), celebrities like Zendaya receive avian alterations (Hen-daya), and the audience even receives little origami birds. Aww! The video and sound design stretch the empty space beyond what is physically there, particularly during the more fantastical sequences. The lack of scenery ultimately works in the production’s favour because we are invited to build this world alongside the performers. At one point comes the observation: “We are spoiled with all these doors.” Yes, yes. Symbolism. Look at me analysing the bird show... These young people are surrounded by endless doors, endless possibilities, and absolutely no idea where any of them could lead, which is exciting! Winging It is weird, imaginative, and appropriately egg-istential. Rule of 4 Writer/Director: Ben Spalding Lighting Designer: Riley Montesin Sound Designer: Ellena Ramsay Stage Manager: Kaitlin Ritchie Cast: Aidan Calleja, Ella Marshal, Hunter Sams, and Anna Blinks-van Broekhoven “Magic isn’t real, folks. It’s just people lying to your face.” Rule of 4 presents itself as a show starring a magician, his assistant, his ex-girlfriend/audience plant, and a guy whose primary contribution to conversation is the word “four”. Ben Spalding’s piece throws scripted comedy, improvisation, deliberately unsuccessful magic, audience interaction, narrative detours, and repeated appearances of the number four into one extremely odd pot. I don’t think I could confidently explain the plot to you even under interrogation. Aidan Calleja is very good at playing the untalented magician. Hunter Sams’ character initially communicates almost exclusively through “four”, giving shades of Hodor/Groot, until the production eventually helps matters by providing him with surtitles. The audience was very willing to play along, which is vital for this kind of work, and the show happily wandered in several directions before eventually surprising us with some actual magic towards the end. Noice. Making a Killing Writer/Director: Ad Reid Lighting Designer: Pavani Wickremasinghe Sound Designer: Celine Terisno Stage Manager: Claire (CJ) Stockwell Cast: Ella Marshal, Nicholas McMahon, Jaimee Urika, and Annabel Baker “Want a real story? Kill someone people actually give a shit about!” Making a Killing takes us to a struggling café on a run-down rural QLD main street, where businesses are suffering, rent is ridiculous (relatable), and things suddenly become much busier when a murderer starts poisoning people with toxic berries. Journalists descend upon the town. Business picks up. Tragedy turns out to be excellent for the local economy. Ad Reid’s script has a darker satirical edge beneath its comedy, particularly in the uncomfortable relationship between human suffering, media attention, and the financial opportunities surrounding both. Café workers Sandy, Nate, and Elsie (Ella, Nicholas, Jaimee) become more mysterious as the deaths continue, and because practically everybody now has something to gain from the situation, suspicion spreads very quickly. The script ultimately leaves certain questions hanging rather than wrapping everything into a neat little bow, which suited this story where moral certainty becomes increasingly difficult to decipher. Annabel Baker gets some particularly entertaining moments across her multiple roles, including an extremely angry teenager named Gavin. Radio updates scattered throughout the production keep the murders moving beyond the walls of the café. During the performance I attended, some dialogue became difficult to catch when actors turned away from the audience. A few lines disappeared into the space, so stronger projection and more awareness of body position would help the details stay clear. Is Our Roommate a Nazi? Writers: Kodi Ryke and George Aitken Director: Oliver Primrose-Motum Cast: Lachlan Kruger (Joey), Jack Winrow (Dwight), Edith Malcomson (Home Owner/Friend 1), Reagan Warner (Narrator), Midori Cruz (Friend 2), and James Grant (Charlie) “Maybe he’s an ironic Nazi? Maybe he doesn’t like juice? (jews)” If any title announced RISK IT! before the actors had even walked onstage, this was probably it. Joey and Dwight suspect their new roommate Charlie might be a Nazi. Unfortunately, every piece of evidence is just ambiguous enough to make it harder to tell. Kodi Ryke and George Aitken’s writing deliberately treads through uncomfortable territory, using the structure and language of a sitcom to examine prejudice, assumptions, reputation, performative tolerance, and the spectacular ways people can dig themselves into holes while trying desperately to prove how progressive they are. The production directly acknowledges us throughout, complete with sitcom-style introductions, a laugh track, direct address, audience interaction, and Reagan Warner’s narrator reacting with every available muscle in his face even when he isn’t saying a word. Lachlan Kruger and Jack Winrow make a strong comic pairing as Joey and Dwight, particularly during their interrogations of Charlie. James Grant keeps Charlie maddeningly difficult to read because almost everything he says manages to be both suspicious and completely inconclusive. Things get worse once Joey and Dwight attempt to explain themselves to Charlie's friends, played by Midori Cruz and Edith Malcomson. Every attempt to prove they aren’t bigots produces another sentence that makes them sound worse. Winrow, in particular, has excellent timing when Dwight realises (a second too late) that he has once again said the worst possible thing. And the awkward silences are just as funny as the punchlines. There were moments when the audience chuckled immediately, gasped, wriggled, or sat in uncomfortable silence while we calculated whether laughing was socially permitted. That discomfort is part of why the piece works well. The humour mostly comes from Joey and Dwight’s panic, contradictions, assumptions, and frantic attempts to protect their own reasonings. Of the five productions I caught, this one perhaps most obviously embodied the RISK IT! brief. It went somewhere uncomfortable, trusted its audience to recognise what was actually being satirised, and committed to the consequences. Final Thoughts What I enjoyed most about my little slice of Freshblood was how little interest these emerging artists had in behaving sensibly. None of these five pieces were particularly naturalistic in structure. They played with direct address, audience interaction, physical comedy, multimedia, genre parody, improvisational structures, and theatrical conventions. Some ideas were more clearly developed than others, but that almost feels beside the point in a festival built specifically to encourage experimentation. Freshblood isn’t asking artists to arrive with the safest possible finished product. It gives them somewhere to try the weird thing. For emerging creatives, having somewhere to test those ideas in front of an actual audience is invaluable. You learn what lands, what needs tightening, what audiences understand, what they don’t, and which premise might actually have a future beyond the festival. I only saw five of Freshblood’s MainStage works this year, so there’s a whole other side of RISK IT! that I missed. But from the five I did catch, Vena Cava’s young creatives certainly understood the assignment. They risked it. And theatre is considerably more interesting when somebody does.

Off Broadway Presented by: Base Entertainment Venue: Brisbane Powerhouse Date Attended: 9 August 2026 Choreographer: Rachael Peters “Get ready to kick line and jazz hands your way through Broadway history!” Twenty-four musicals. Eight cast members. An alarming number of costume changes. Off Broadway barrels through Broadway history with its foot firmly on the accelerator. This new musical theatre revue raids Broadway’s greatest-hits catalogue for two packed acts of familiar favourites at Brisbane Powerhouse. Off Broadway isn’t digging around for forgotten gems. It’s serving the big ones (songs that have escaped their original productions and become cultural fixtures in their own right). These are the numbers audiences will recognise within a few bars. Having seen 22 of the 24 featured shows on stage (not to brag hehe), I came in with plenty of reference points. The only two missing from my theatrical bingo card were Anything Goes and Kiss Me, Kate. Everything else has reached me through Broadway, the West End, professional tours, community theatre, cabarets, cast recordings, pro shots, slime tutorials, film, TV (Glee lol), and basically every MT showcase ever. That left Off Broadway with the tricky job of competing with decades of very familiar versions. Its solution was... dazzle. Off Broadway opens at full tilt, racing through numbers from Moulin Rouge! and Kiss Me, Kate. The choreography wastes no time showing off the cast’s stamina, with the dancers already attacking demanding movement in their mirrorball leotards. I was five minutes in wondering how these dancers were expected to survive the night! With 24 shows on the itinerary, there’s no time to linger. Voiceovers and cast narration shepherd us through the decades, dropping in bits of Broadway history and giving the writers their proper credit along the way. Starting with the likes of Anything Goes and Guys and Dolls, we witness musical theatre’s sound, movement, and style evolve through the years. By the time Jesus Christ Superstar brings us into the ’70s, things have become progressively louder, sexier, and more complicated both musically and choreographically. A Chorus Line receives its deserved place in the timeline (the show famously helped drag Broadway through one of its roughest periods), before Chicago gives the cast a chance to flex their Fosse skills. The dancers’ precision captures exactly why his style is still so satisfying to watch. Chicago gets FOUR songs, by the way (“Hot Honey Rag”, “Cell Block Tango”, “All That Jazz”, and “We Both Reached for the Gun”). Somebody involved has a clear favourite. And I get it. The choreography is consistently one of Off Broadway’s strongest assets. Choreographer Rachael Peters keeps the cast in near-constant motion, with athletic movement, partnering, floorwork, and stylistic shifts between shows. The music for “Big Spender” gets a club-style remix, showing early on that the revue isn’t precious about preserving every iconic number exactly as we know it. In fact, it’s often most interesting when it makes its own choices. “The Sound of Music”, for example, gains a completely different character through a baritone interpretation. “Singin’ in the Rain” becomes a jazzy duet for Bridie Erwin-Keirl and Bailey Nathan-Park, who waltz gently around the stage as they sing. Perri Espinoza carries a considerable amount of the vocal load across the evening. Anything Goes gives us our first look at her impressive breath control, before Cabaret lets her unleash the power, range, and charisma. Her Elphaba moment arrives, inevitably, with “Defying Gravity” (because a Broadway celebration was never getting out of that building without Wicked). I also need to acknowledge the costume because I loved it! Alexander Thorpe proves particularly versatile. His Riff Raff in the Rocky Horror section has exactly the required bite, while his Phantom is commanding and vocally well suited. “The Phantom of the Opera” also delivered one of the evening’s funniest unintended moments when that organ blasted through the theatre and scared the absolute bejeezus out of the audience. Vocally, though, the number also exposed one of the revue’s recurring issues: not every song is equally well matched to its performer. Espinoza handles much of Christine’s punishing upper register, but the role sits less comfortably elsewhere in her range. Similar issues crop up later. “Hopelessly Devoted to You” loses some of its lower notes, while Connor Micallef takes several passages down an octave for the Grease and Jersey Boys material. Micallef has considerable charisma, and the Jersey Boys sequence is fun, but with material so strongly associated with Frankie Valli, I did miss that famous falsetto. Almost everything in Off Broadway arrives with an iconic performer or production attached to it. That makes thoughtful vocal allocation especially important. The cast of only eight is asked to cover an enormous range of styles, voice types, characters, and decades, and there were moments where adjusting a key or redistributing a song could have allowed the performers to show themselves to greater advantage. Bailey Nathan-Park throws himself into the Peter Allen section, with the audience clearly enjoying the exuberance of "Rio" (even as I wondered how anybody onstage still possessed functioning lungs). The ensemble’s stamina throughout is formidable. The boys have a particularly cheeky time with Priscilla, Queen of the Desert. After the relentless movement and variety of the first act, the second becomes noticeably ballad-heavy. “Beauty and the Beast” uses the Celine Dion and Peabo Bryson pop duet rather than material from the stage musical for some reason, with Espinoza and Thorpe serenading one another while adding a very small amount of waltzing. Having the dancers take over the movement while the vocalists simply sang may have given the sequence more visual scale. Then there’s “Any Dream Will Do” with Thorpe in a rainbow blazer. I know Joseph and the Amazing Technicolor Dreamcoat is beloved, but I would still cut that song (sorry not sorry). By comparison, the final stretch is guaranteed to get people excited again, with Mamma Mia!, Fame, and Footloose helping close the evening exactly as a show like this needs to finish. Visually, Off Broadway keeps the Powerhouse unusually connected to its audience. House lighting remains relatively bright for much of the performance, helping the whole room feel part of the celebration. The audience was bopping their heads, tapping their feet, and occasionally singing along. I don’t blame them. For audiences who haven’t had the chance to see many of these musicals live, Off Broadway works as a tasting platter of musical theatre hits. I can imagine that choosing the setlist was a nightmare to narrow down. There are some obvious omissions, including work by Sondheim, Lerner and Loewe, Gershwin, and Bernstein, as well as Les Misérables (presumably because of song rights), but there’s still plenty here to keep musical theatre fans mentally ticking boxes. The costumes do much of the time travelling, rapidly shifting between eras, characters, and recognisable theatrical looks. I was less convinced by the AI-generated projections, which often look noticeably artificial beside performers. For a production built around Broadway spectacle, I would have loved the visual design to match that same level of human craftsmanship. Thankfully, the choreography and singing can’t be AI-generated. Sound is another area that could use some tightening. This is a very LOUD show, and the balance doesn’t always give the vocals much clarity against the tracks. That cast is ultimately what sells Off Broadway. They dance like their lives depend on it, sprint through musical theatre history with barely enough time to breathe, and step into roles made famous by some of the biggest performers in the world without the luxury of a full production building around them. Off Broadway will particularly appeal to audiences wanting Broadway’s greatest hits packed into one exuberant night. Musical theatre diehards may have opinions about the song choices and interpretations (hello, it’s me), but there’s plenty of fun in recognising what’s coming next. In the end, the dazzle did its job. I couldn’t look away.

Alice by Heart Presented by: Phoenix Ensemble Director, Set, Costume: Hayley Gervais Musical Director and Sound: Rae Rose Choreographer: Hannah Macri Lighting Designer: George Pitt Photography: By B'rit Creative "Today he is your dearest friend. Tomorrow, a statistic." Childhood stories are like little time capsules. We learn them before we know what grief is, before we understand war and before we realise that the world is not always going to feel like a storybook. For me, that comfort story growing up was Harry Potter. I knew the castle, the spells, the creatures, and the exact feeling of returning to that world when my own was just too much. For Alice, her escape hatch is Lewis Carroll’s Alice’s Adventures in Wonderland from 1865. She knows it “by heart”, not just as a book, but as this magical place she can run to when reality becomes too unbearable. Brought to you by Phoenix Ensemble, Alice by Heart takes place in an underground tube station during World War II, as Londoners shelter from Germany’s bombings. In the middle of this fear and confinement, Alice Spencer clings to the story she knows off by heart and to her best friend, Alfred, as tuberculosis and war close in around them. As she recites the story, the people in the shelter morph into Wonderland characters, and the line between memory, fantasy, and reality blurs. Directed by Hayley Gervais, who also designed the set and costumes, this production has a lovely sense of visual invention. Hayley creates a versatile world that can shift in a blink, with hidden nooks, levels, and objects that seem to appear and disappear as Alice’s mind reshapes the space around her. The hand-painted Wonderland backdrop adds a storybook quality, placing us somewhere between a childhood illustration and a half-remembered adventure Madeleine Ford is part of the production’s central casting, with Jade Jose stepping in as the alternate Alice at the performance I attended and she was stunning. Alice is an enormous role in any configuration, requiring innocence, vocal stamina, imagination, and constant emotional engagement. This production clearly understands Alice as the beating heart of its strange, splintered world. Jade's soft English accent fit the role beautifully, with a vibrato that seemed to shimmer through the room. She gave Alice a delicate desperation, like someone fighting to hold the pages together even as the world tears them apart. In the quieter moments, she exhibited beautiful control and then transitioned into a thrilling belt for I’ve Shrunk Enough. Kaitlin Evans plays Alfred/White Rabbit, bringing a frantic, sweet, anxious energy to both roles. Their White Rabbit is an absolute cutie, full of urgency and nervous charm, while their Alfred carries a delicate fragility. The line “I have so little time” sits at the emotional centre of the production, and Kaitlin gives it a painful simplicity throughout. Jade and Kaitlin sound incredible together, particularly in Afternoon and their duet Still, which is one of the most tender musical highlights of the show. It has that suspended quality of two people trying to preserve one perfect memory while time keeps ticking anyway. I have to say, I didn’t feel the emotional connection between Alice and Alfred as strongly as I wanted to. Their vocal blend was lovely, but the relationship didn’t quite reach the aching intensity the story needs. In a musical so dependent on the terror of losing that one special person, that bond should feel almost unbearable. I’m not sure if that came down to chemistry, the writing, or simply my own read of the performance, but for me, it kept the emotional core at a slight distance. I overheard a few people nearby assuming they were brother and sister, and I can understand how that reading might happen. The emotional impact of the show relies on their bond, so the more evident their love, history, and co-dependence are, the more devastating the ending can be. Ella Maree is a divine as Tabatha/Cheshire Cat. She brings a sly, silky presence to the world, blending beautifully with Jose in Those Long Eyes. Later, Some Things Fall Away is a gorgeous showcase for her voice. Ella has that lovely quality of drawing attention without pushing for it, and there is definite star power in progress here. Anna Ryan is hypnotic as the Caterpillar, with an intoxicating mix of voice, movement, and cockney swagger. Her work in Chillin’ the Regrets is one of the production’s top group moments. The harmonies, lighting, and choreography come together for a trippy psychedelic experience, with the full ensemble wearing arm socks like caterpillar legs to create a playful and surreal stage picture. Later on, Anna's epic vocal riff in Isn’t It a Trial? also earns one of those “oh, excuse me?” audience reactions. Emma Erdis is fabulous as the Red Cross Nurse/Queen of Hearts, bringing command, mania, and vocal power. They portray just the right amount of danger and diva energy, especially in Isn’t It a Trial?, where the whole scene becomes a gleeful explosion of courtroom craziness. Emma shushing the band is a perfect comic beat, and their riffing sends the number flying into the heavens. Beside them, Campbell Briggs proves wonderfully versatile across Dr Butridge, King of Hearts, Jabberwocky, and Mock Turtle. Campbell has a strong instinct for silliness, but also knows when to sharpen it into something darker. His King of Hearts dance moves just about steal the room, while his work in the Jabberwock material gives the show a heavier, more ominous energy. Brillig Braelig, with gas masks, creepy choreography, and George Pitt’s moody lighting, is a particularly effective sequence, reminding us that Wonderland’s monsters and wartime horrors are not as separate as they first seem. Side note, the Queen and King's crowns made of scissors and syringes are a brilliant design detail, marrying medical imagery with Wonderland royalty. August Cocks brings sass, wit, and strong character detail to the Mad Hatter. Sick to Death of Alice-ness, is the strongest pieces of character work for me, with August, William Thomas as Dormouse, and Kaitlin Evans as March Hare playing with rhythm, attitude, and cockney bite as they gleefully toy with Alice. The music and lighting work tightly together here, and the number has a lively, mischievous feel with a darker undercurrent beneath it. Delilah Bennett, as Clarissa/Queen of Diamonds, adds colour and texture to the ensemble with bright character work and lifting voice. Jack Barrett had the audience laughing so hard they were practically rolling in the aisles in the role of the Duchess. With a towering wig, hip bustles, heels that are a workout in themselves, and a flair for drama, this Duchess is a spectacle. Every “PIG!” is delivered with the gravitas of a royal decree. It’s the perfect kind of absurdity, and Jack transforms a character most of us vaguely recall from the original story into someone suddenly impossible to forget. Ammi Johnson as Young Alice and Spencer and Fraser Goodreid as Young Alfred tug at the heartstrings in their brief appearances, reminding us that Alice and Alfred’s bond begins before the crumbling world starts asking adult things of them. Their tender presence gives the production its sense of lost innocence. “I thought we would come down here again and again” lands as one of the most painful lines in the show: the childhood belief that the people and places we love will simply keep being there. Musically, Rae Rose does excellent work as musical director, with a band sound that is high quality throughout. Under Rae's direction the harmonies are clear, the ensemble numbers have weight, and the band supports the singers without swallowing the sound (even when the mics are being crunchy). Rae's sound design also helps bridge the war and Wonderland atmospheres. Hannah Macri’s choreography is so inventive and full of personality. It is at its strongest when the movement feels born from the strange logic of Wonderland: the Caterpillar’s many limbs, the Jabberwock’s gas-mask menace, the ensemble surges in The Key Is, and the epic physicality of I’ve Shrunk Enough. George Pitt’s lighting design is a major asset. The shadow work used to create Alice’s changing size is particularly effective. The lighting in Chillin’ the Regrets, Sick to Death of Alice-ness, and Brillig Braelig works exceedingly well, giving each number its own distinct texture while supporting the emotional and visual shifts of the story. I see how director Hayley Gervais is drawing inspiration from the original production’s costume style, where characters don’t need rabbit ears or cat whiskers to tell us who they are. It keeps Wonderland feeling like something built from memory, not a literal dress-up box. There is cleverness in the way this production lets reality and fantasy bleed into one another. The world around Alice is never quite what it first appears to be. I did find myself wanting a little more visual grit from the Blitz setting. Given the historical reality of overcrowded tube shelters, illness, exhaustion, and fear, I think the hair and makeup could have leaned a touch further into wartime dreariness. Alfred, especially, could perhaps appear more physically affected by tuberculosis and his confinement in quarantine. The paleness is there, but I found myself wanting clearer visible signs of illness, perhaps through red splotches, more unkempt hair, or gaunter makeup, to help the stakes land more immediately. It is worth saying that Alice by Heart is not a straightforward musical. Like the original Alice’s Adventures in Wonderland, it is nonsensical, symbolic, and deliberately confusing. Some folks might find it hard to follow, and some of the symbolism may pass you by on a first watch. But that strangeness is part of its identity. What Alice remembers “by heart” is not always what is actually on the page. Trauma distorts things. Memories can get twisted. Across two one-hour acts, Phoenix Ensemble offers a production that is highly whimsical, nostalgic, musically and choreographically strong, and full of striking individual performances. This is a show set in an era where death was common and indiscriminate, where children were not spared just because they have had less time to live. Around 43,500 civilians were killed over nine months during the Blitz, but grief remains heavy no matter how much of it surrounds you. Loss may have been everywhere, but that does not make it lighter for anyone. “The pages turn so quickly,” the show reminds us. Alice by Heart asks us to look at Wonderland not just as a place of escape, but as a place where a young woman finally begins to understand what she cannot change. When the bombs are falling and the pages are slipping from our hands, a childhood story cannot save us. But it can sit beside us, familiar and worn, and help us breathe through the hard things, one page at a time.