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The Great Gatsby Queensland Theatre & Shake & Stir Theatre Co Playhouse, Queensland Performing Arts Centre (QPAC), Brisbane Based on the novel by F. Scott Fitzgerald Co-Adapted & Co-Directed by: Daniel Evans and Nick Skubij Co-Adaptor & Performer: Nelle Lee Creative Producer: Ross Balbuziente Set & Costume Design: Christina Smith Lighting Design: Trent Suidgeest Composer & Sound Designer: Guy Webster Movement Director / Choreographer / Intimacy Coordinator: Nerida Matthaei “Just when you get to be the best, they turn around and expect more from you.” Few stories have seeped into popular culture quite like The Great Gatsby . A century after its publication, the name “Gatsby” still conjures champagne towers, flapper dresses, glittering parties and Jazz Age glamour. It appears in film adaptations, themed parties, fashion collections and countless stage interpretations. Yet the allure remains the same. Beneath the glitter lies a cautionary tale about wealth, longing and the dangerous persistence of pipe dreams. The Great Gatsby , penned by F. Scott Fitzgerald in 1925, unfolds during the roaring excess of the Jazz Age. The story is narrated by Nick Carraway, a Yale graduate and World War I veteran. Living next door to the mysterious and fabulously wealthy Jay Gatsby, Nick is pulled into a dazzling world of extravagant parties and whispered secrets. As he becomes entangled in Gatsby’s obsession with his former love Daisy Buchanan, now married to the domineering Tom Buchanan, Gatsby’s dream of rekindling their romance grows increasingly unattainable. The story gradually spirals toward tragedy, leaving profound consequences for all involved. Walking into QPAC Playhouse, I settled into my front row seat and quickly realised just how close the action would be! It’s the kind of seat that transforms theatre from a distant spectacle into an immersive experience, where the performance feels poised to spill into your lap at any moment. From that vantage point I could see every cigarette puff drifting through the air, every nervous hand twitch and every bead of sweat under the stage lights. At one particularly memorable moment, an actor (sorry, Ethan Lwin) even ripped his pants, and somehow this mishap only added to the chaotic perfection of the scene at the time. That is the energy of this production. Nothing feels out of reach. This adaptation by Queensland Theatre Company and Shake & Stir Theatre Company kicks off their seasons with a dazzling bang. Directed by the talented duo of Daniel Evans and Nick Skubij, and co-adapted by Nelle Lee , this production invites the audience to not just witness the story, but to feel its pulse and experience its heartache firsthand. The staging at first is deliberately bare bones. A typewriter sits centre stage, clicking away as Nick writes and rewrites his memories. Around it, the world of 1920s New York materialises through light, sound, costume and movement. In true Evans and Skubij fashion, the theatrical language is bold and expressive to immerse the audience in a vivid sensory experience. One moment you are swept into a glittering party filled with laughter, music and fireworks; the next you are abruptly plunged into a haunting wartime recollection, as gunfire and the echoes of WWI reverberate through the soundscape. Christina Smith’s design embraces the idea that we are witnessing memory  unfold rather than a strict reconstruction of place. The visual language shifts dramatically between locations. The vibrant colour of Gatsby’s parties and Myrtle’s apartment contrast with the soft, sheer whites of Daisy’s home, while the journeys between Long Island and Manhattan take on darker, exaggerated motifs. Sets appear and vanish quickly, like fleeting fragments of the mind. At times the mechanics of the Playhouse Theatre reveal themselves, with rigging and backstage elements exposed to remind us that the glittering world of Gatsby is built on illusion and façade, much like live theatre. Highly fitting for a story about people who spend much of their lives pretending. Trent Suidgeest’s lighting design heightens these shifting worlds beautifully, bathing the stage in saturated colour and dramatic contrast. From smoky nightclub reds to haunting wartime blues and shadowy silhouettes, the lighting helps sculpt each moment of memory. The parties are a spectacle, despite the modest cast size. Glitter curtains descend. Confetti blasts into the audience. Jazz pulses through the theatre. One particularly raucous sequence set to “ Do Your Thing ” (the song from 2001) erupts into a loud, glamorous swirl of choreography and sequins, with Nerida Matthaei’s movement direction giving the party scenes a pulsing, kinetic energy. The ensemble move with swagger and vitality, while the costumes become a feast of fringe, florals, sequins and sparkle. Nick Carraway, played with boyish charm and tortured introspection by Ryan Hodson , acts as our guide through this opulent world. Much like Nick himself, we become the wallflowers at every gathering, quietly observing the new-fashioned glamour and the cracks forming beneath it. Hodson's performance holds this duality in perfect tension, allowing us to feel both the intoxicating thrill of the social scene and the weight of its inherent superficiality. Hodson frequently directs his asides toward the balcony audience, reinforcing that we are not merely passive observers but conspirators in his recollection. Ultimately, Ryan Hodson emerges not just as the story’s observer, but as an incredible emotional lens through which we experience it. Jay Gatsby does not even appear until roughly thirty minutes in, which only heightens the myth and allows the audience to build their own imaginations surrounding him. When Shiv Palekar finally steps into the light, he commands the room instantly. Gorgeous, clean-shaven, and dressed in a perfectly tailored pink suit, he moves with deliberate purpose. Whether still and watchful or crossing the stage in a flash, every word and gesture feels carefully chosen, old sport ! And every detail of his appearance is meticulously curated down to his pale pink shoes. Palekar's portrayal of Gatsby is not merely charming and magnetic; it carries an unmistakable hint of boyish desperation beneath the polish. Opposite him, Jess Vickers plays Daisy Buchanan with delicate restraint. She appears almost doll-like on stage, dainty and ethereal, her soft costumes enhancing the sense of fragility that surrounds her. Yet behind that seemingly unbothered façade, Vickers allows constant flickers of anxiety to surface. There is always the sense that Daisy is holding something back, caught between what she wants and the expectations placed upon her by society. As one line reminds us, “Daisys [of the world] tell people what they want to hear. It’s an affliction of the beautiful.” Vickers moves fluidly between charm and melancholy, capturing a woman who leaves those around her enchanted yet unfulfilled. Libby Munro as Jordan Baker steals every scene with her cool demeanour. With brilliant one liners and impeccable posture, she radiates self assurance. Munro carries herself with a sleek confidence that makes Jordan impossible to ignore, even in crowded ensemble moments. Her wardrobe is a visual feast of chic playsuits and tailored sets (that I immediately want to steal for my own closet), embodying the essence of a modern woman who knows her worth and isn’t afraid to flaunt it. Jeremiah Wray’s Tom Buchanan is equally compelling, though for very different reasons. He leans fully into the character's arrogance and entitlement, creating a presence that is imposing and deeply infuriating. Wielding his wealth and status like a weapon, he bullies and manipulates those around him with chilling ease. As his temper simmers and erupts, I found my own body tightening in response. You can almost feel the weight of his dominance pressing down on the room. This visceral reaction he provokes is a testament to Wray’s terrific performance. Nelle Lee brings chaotic energy to Myrtle Wilson, the loud, chatty and unapologetically unhinged mistress caught in Tom’s orbit. She stands in sharp contrast to the more restrained characters around her, bursting into scenes with brash presence and restless ambition. Lee clearly relishes the role, making her Myrtle is messy, unmissable and inescapable. Loren Hunter’s vocals drift through the production like a smoky jazz record playing in the corner of a crowded speakeasy. Her voice is outstanding and used to perfect effect throughout the play, punctuating scenes to guide the emotional rhythm. Her performance of “ I Get Along Without You Very Well ” becomes one of the evening’s most visually striking sequences, with the set slowly rotating as she serenades. Characters weave in and out of the space as if passing through Nick’s recollection, while the reverb on Hunter’s microphone gives the whole sequence a dreamy, almost ghostlike quality. The ensemble work throughout is equally impressive. Donné Ngabo and Ethan Lwin in particular seem to pop up everywhere as intriguing characters. Their transformations help fill the stage with partygoers, soldiers, train passengers, and underworld figures, making the world feel far larger than the cast size suggests. Some of the most effective moments come from the smallest details: The sharp click of Nick’s typewriter punctuating the silence. Jay nervously fidgeting his fingers. A sheer curtain billowing in the breeze, turning the actors into shadowy silhouettes. The enormous grille of Gatsby's car suddenly looming so large that I can barely see the actors behind it. Or when Daisy appears in a sequined green dress, a visual echo of the famous green light that haunts Gatsby’s dreams. The dialogue moves quickly, bouncing between characters with an almost musical rhythm, with subtle differences in New York dialect reflecting shifts in class and background. Fitzgerald’s iconic lines land sharply amid the chaos of parties and shouting matches. The confrontation in the sweltering hotel suite becomes one of the most gripping scenes. Gatsby, Daisy, Tom, Jordan and Nick lock into a tightly wound scene, until it feels like the entire room might explode like a grenade. The implied heat, the alcohol and the rising tempers combine with Guy Webster’s uneasy soundscape to keep the audience on edge. What makes this production particularly engaging is its relentless entertainment. It never allows the audience to drift into boredom. Every moment offers something to watch or hear. A spotlight lands. A jazz riff kicks in. A burst of choreography erupts to life. Even though the story is a hundred years old, the audience responded with true astonishment, perhaps encountering the tale for the very first time. Ultimately, this Great Gatsby  understands the delicate balance at the heart of Fitzgerald’s story. It is dazzling and devastating in equal measure. And from the front row, the illusion proves completely intoxicating.

Sidekicks - Written by Stephen Vagg Produced and Co-Directed by:  Tammy Tresillian & Simon Chugg Venue:  PIP Theatre Cast:  Tammy Tresillian as Caitlin Buckner (CB), Simon Chugg as Mackenzie Graham (Mac)  “Dearly departed, we have gathered here today to say goodbye to my sex life.” Are you the hero of your own story… or just the person holding the hero’s handbag? That’s the question at the heart of Sidekicks , a fast-talking, whip-smart two-hander that had me laughing one minute and feeling personally attacked the next. Because let’s be honest, most of us have been the sidekick at some point (right?). The supportive best friend. The “duff”. The one with the unrequited crush. The one who convinces themselves they’re fine in the background… From the moment we meet CB desperately trying to stop her friend Robyn from marrying the truly awful Hunter (* unter , as she calls him), we’re thrown straight into the chaos. Mac is quick to remind her they are not the main characters here. They love their best friends. They also kind of can’t stand them. Yet somehow, they’ve let their lives revolve around them. The script moves at a cracking pace. We see flashbacks to how Mac and CB met, their competitive “my friend is shinier than yours” showdowns, rom-com style plotting sessions between the boys, and endless Brisbane and pop culture references like the line: “She chained herself to the Regatta Hotel to gain the right to drink herself to death like any man!” Tammy Tresillian and Simon Chugg have an enormous task here. They play CB and Mac, but also Hunter, Robyn, and various side characters by switching genders through exaggerated physicality, quick costume additions, and vocal shifts. CB herself is a wonderfully fiery character. Rude, impassioned, fiercely loyal and not afraid to call things exactly as she sees them, described as the slightly jaded “Judy Greer” sidekick archetype we know from films like 27 Dresses  or Suddenly 30. Simon’s portrayal of Robyn and Tippy is delightfully unhinged and extra. And Tammy as Hunter is genuinely infuriating. I hated the way Hunter spoke to and about people – baiting, sleazy, offensive – and that’s absolutely a compliment to the actress. Tammy plays him so convincingly that I found myself physically bristling. It’s a testament to the writing and performances that we can laugh at the satire while also recognising how painfully real those dynamics are. The dialogue is relentless. Sitcom-fast with Gen Y dry wit like: “I’m single and insecure and work really hard to compensate to tell myself I didn’t peak in my twenties.” One of my favourite sequences is when Mac and CB narrate their inner thoughts while trying to decode flirtation: “ Are these signals or does she have a sore neck?!” Then comes the "sex scene", which is blocked as an aerobics workout under disco lights. It’s outrageous, theatrical, and hilariously unsexy in the most genius way. A brilliantly choreographed farce. The show cleverly pokes fun at the rules of the romantic comedy while still giving us one to root for. It knows every trope it’s playing with. The awkward flirting, the self-sabotage, the emotional realisations. One line sums up the whole premise beautifully: “I come along at key point to alter the story!” It highlights the irony that sidekicks often shape the narrative, even while ignoring their own wants and needs. The idea itself is loosely inspired by Rosencrantz and Guildenstern from Hamlet , those famous side characters who exist on the edge of someone else’s story. “There is a dignity in being alone.” Tammy’s final monologue about self-worth genuinely moved me. The rapid-fire wrap-up of each character’s future is playful and satisfying, like a rom-com end-credit montage. The chemistry between Tammy and Simon is rehearsed to precision but still sparkles with the energy of spontaneity. What I found most interesting is that this piece is written by a male playwright, Stephen Vagg, who manages to capture both male and female perspectives with surprising accuracy. His observations of modern dating, friendship dynamics, and personal insecurity are packed with jokes that land like a perfectly paced sitcom episode. If you’ve ever stood slightly to the side of your own life waiting for your cue, this one might sting a little. In a good way. Highly relatable. Highly entertaining.

Title:  Hadestown: Teen Edition Presented By:  Valmy Academy Genre:  Contemporary Musical Theatre Synopsis: Hadestown: Teen Edition is a bold and contemporary musical presented as a fully staged holiday production for committed young performers. Designed for teens ready to engage in a focused rehearsal process, the production develops advanced ensemble skills and culminates in performances to a live ticketed audience in a professional theatre venue. With rich storytelling, layered ensemble work and contemporary musical theatre technique, this is a serious and rewarding performance experience. Audition Date:  Saturday March 14th, 2026 Audition Time:  1PM - 4PM Audition Location and Address:  127 Sandgate Road, Albion Audition Requirements: All participants will be cast. Auditions determine principal and featured roles. Audition Registration:  Registration required prior to audition. Register HERE . Audition Pack:  Provided upon registration (if applicable). Performance Dates:  Friday April 17th & Saturday April 18th, 2026 Performance Location:  Old Museum Building Rehearsal Dates:  April 13th - 17th, 2026 Rehearsal Times:  Intensive structured rehearsal process (daily schedule provided upon casting) Rehearsal Location:  127 Sandgate Rd, Albion Warnings: Intensive rehearsal schedule; suited to committed performers seeking a focused production process. Performer Age:  12–17 years Creative Team:  Professional production team including lighting and sound design specialists. Production Website: Valmy Academy - Hadestown Other Information: Teen Holiday Production (13–18 April) $495 per performer Cast capped at 30 performers Includes professional theatre venue performance Stage lighting and sound design Professional performance video Available Roles / Character Breakdown: Full ensemble and principal roles from Hadestown: Teen Edition .Auditions will determine principal and featured casting within a capped ensemble of 30 performers.

Title:  Frenzy! Presented By: Galore Genre:  Circus, Dance, Theatre, Drag, Burlesque, Music, Comedy & Performance Art Synopsis: GALORE! invites performers to present creative, bold acts themed around FRENZY!  Exploring joy, pain, chaos, resilience and catharsis. Acts may be serious, whimsical, irreverent, unusual or experimental. Audition Date:  Expressions of Interest close March 1st, 2026 Audition Requirements: Submit performance details, including: name, act description, genre, duration (4–9 minutes), technical requirements, links to footage or promo images, social media info, bio and photos. Audition Registration:  Complete and submit the online EOI Google Form . Performance Dates:  Saturday March 21st, 2026 Performance Times:  7:30PM Performance Location: EC Venue, 17 McLachlan St, Fortitude Valley QLD 4006 Warnings: Venue cannot accommodate fire acts or high-rig aerial work. Stage dimensions and limitations apply. Performer Age:  18+ Other information:  Profit-share arrangement - ticket revenue split among performers after costs; performers must help promote ticket sales. Available Roles/Character Breakdown: This is a performance showcase open call rather than a scripted show with roles. Eligible performers include: Solo, duo or group acts Circus, dance, theatre, drag, burlesque, music, comedy or performance art Acts that fit the FRENZY!  theme Acts 4–9 minutes long

Director:  Kym Brown Musical Director:  Sally Faint Choreographer and Costume Designer:  Julianne Clinch Production Design:  Panda’monium Designs Photography:  Creative Street and Brit Creative Content includes gun violence, murder, strong language, sexual references, abuse, and loud gunshot effects. “Who we gotta hold up to get my picture on the cover?” Nowadays we chase fame with hashtags and ring lights. In 1930s America, Bonnie and Clyde chose a far louder method. Some shows ease you in gently. Bonnie & Clyde  does not. From the moment those car headlights blind us, we know we're in for a wild ride. Phoenix Ensemble has a knack for choosing shows that are daring yet still pull a crowd, and Bonnie & Clyde  sits comfortably in that pocket. It’s dramatic, musically rich, and sprinkled with wit. Yes, it journeys to dark places to remind us that before they were turned into a musical, Bonnie and Clyde were just two young people hungry for more than the world was offering them. Set in 1930s America, the musical follows Bonnie Parker, an ambitious woman aching for fame, and Clyde Barrow, a restless man determined never to feel powerless again. They both yearn for recognition and escape, sparking a passionate partnership. Fame is the aim. Crime becomes the method. And media attention does the rest. Under the direction of Kym Brown , this production does not skim the glossy surface of their legend. A fair portion of their real-life saga is explored: Prison and police brutality are addressed. Community resentment during the Great Depression is woven through ensemble work. Bonnie’s poetry reframes robbery into tales of romance. Media fascination builds steadily to transform them into folk heroes raging against the system. Each choice feeds the flame, and that wildfire heads straight towards the inevitable... Chelsea Guard  is a genuine star as Bonnie Parker. Perfect in vocal delivery, both sung and spoken. She exudes strength, sass, and softness all at once. With her low eyeline, she gives that perfect demure look up through her lashes, part doe-eyed ingénue, part sultry siren. Rather than playing Bonnie as simply a sweetheart of a criminal, Chelsea leans into her inner diva. Bonnie relishes playing the role of an outlaw. And that hunger for fame reads clearly, from Eva Rose McMurray  as Young Bonnie in Picture Show  to Chelsea as her adult counterpart. She embodies an accessible elegance of the era with natural poise. Despite Bonnie’s tenacity, she falls hard and fast for the rebel rouser Clyde Barrow. James Bird  charts Clyde’s journey with clarity. Early scenes are played with charm and impulsive boyishness. Milo White  portrays Young Clyde, brandishing a BB gun and dreaming of becoming the next Billy the Kid or Al Capone. After a stint in the slammer, something shifts. Raise a Little Hell  marks that turning point after brutal degradation. James does not let the song feel triumphant. It is explosive. Because underneath sits humiliation and rage. There is even a familiar fugitive energy that echoes James’ past role as Frank Jr. in Catch Me If You Can (BTG) , but this time with far more danger. His ukulele serenade to Bonnie offers a disarming contrast. For a moment, they’re just two young lovebirds, but their relationship plays more like an addiction than a fairy tale. Too Late to Turn Back Now gives Bonnie her “uh-oh” moment when she realises that swapping thieving for shootouts is not as glamorous as it sounds. It is one of the few times fear overrides her love, if only briefly. The harmonies between Chelsea and James in this piece, along with What Was Good Enough For You and Dyin’ Ain’t So Bad, are consistently aligned and emotionally connected. Ruby Thompson  and Mark James  are the emotional counterweight as Blanche and Buck Barrow. We first meet Blanche in her hair salon during You’re Goin’ Back to Jail , where she’s nagging her husband to turn himself in. Meanwhile, the salon customers are chirping about how much more peaceful life is with their spouses behind bars. Yet beneath Ruby's cheeky wit, she’s the voice of reason. Blanche truly believes in repentance for Buck. Mark James portrays Buck with warmth, loyalty, and a touch of impressionability. Their husband-and-wife dynamic feels surprisingly authentic. When Clyde writes about life on the run, Buck is seduced by the adventure, while Blanche is not. This contrast is highly impactful in Ruby’s stunning rendition of That’s What You Call a Dream . As the violence intensifies, Blanche’s breakdown is portrayed with a deeply human touch. Heartbroken and holding onto her faith, Ruby transforms Blanche from a source of comedic energy to emotional wreckage. Molly Parker  shines as Bonnie’s mother, steadying every scene she appears in. She reminds us that a family exists behind each headline. Andrew Engelsmann delivers lovely vocals in You Can Do Better Than Him, portraying Ted’s unrequited love with sincerity and a touch of self-pity. Even when he is not driving the engine of the story, his presence reinforces what Bonnie is walking away from. Stability. Safety. A different kind of future. Law enforcement is not painted as cartoonish adversaries here. Reece Rostedt brings a powerful presence as the slightly daft Sheriff, armed with a convincing Texas drawl. While he is technically the good guy, through Bonnie and Clyde’s lens, he becomes the obstacle in our heroes’ story. Amber Lawson’ s Texas Ranger is all grit and no quit, wielding authority without hesitation. Production design by Panda’monium Designs creates a sepia-toned world. Walking in, you are met with a white sheet stretched across the stage as archival black and white footage flickers against it. Suddenly, car headlights deliberately blind us through a red wash of light, and for a second you are caught in the crossfire. It is cinematically immersive and dangerous from the get-go. Wooden slats and adaptable set pieces create a flexible stage frame. Chairs hang on the walls and are pulled down and used to portray homes, hideouts, churches, and jail cells. Prison bars glide into place without fuss. Projected surtitles quietly mark the year, location, and headline. Scene transitions are visible and seamless, a clear credit to Stage Manager Tarah Walsh and the ensemble. No clunky pauses or awkward blackouts here. Lighting genuinely surprised me, which I do not say often. Illumination, (including fire!) appears from unexpected angles and areas to shape the mood beautifully. Costumes by Julianne Clinch sit comfortably in the 1930s without looking costume-y. And those final looks for the Barrow gang mirror historical photographs so eerily close close. Wigs by Taylor Atley are tidy and period-appropriate. Texan accents across the cast are strong and consistent. No distractions here folks, just a cohesive western world. Even the venue upgrades deserve mention. Phoenix Ensemble’s new seats are fantastically comfortable, the aircon was glorious, and the sound mixing was excellent all night. Frank Wildhorn’s score moves between gospel, country and western, blues, and sweeping musical ballads. Under the musical direction of Sally Faint, the ten-piece orchestra remains boppy, tight, and full without overwhelming the vocals. Sound design ensures the balance between band and microphones is excellent. Gunshot effects are sharp and each one carries weight. Audience members visibly jumped more than once. Julianne Clinch’ s choreography in The World Will Remember Us bursts with youthful ambition. How ’Bout a Dance? brings early romantic playfulness with a charming waltz. Made in America gives the ensemble a powerful moment to voice economic frustration and resentment during the Depression. When I Drive choreographs the brothers with loose, playful energy as they celebrate Clyde’s recently “borrowed” car. God’s Arms Are Always Open is staged with gospel grandeur led by Jade Jose , who is a phenomenal vocal choice! Kym Brown’s direction keeps the pacing tight without sacrificing emotional beats. Scenes move swiftly, but nothing feels rushed as it builds to the climax. Space is used well, particularly in split-scene moments. Phoenix Ensemble has assembled a seriously strong team here to deliver this high-quality production that is musically powerful, visually cohesive, and emotionally engaging. Bonnie & Clyde does not ask you to approve of its infamous lovers. It asks you to understand them. We all know the historical ending - spoiler alert, it’s not a happy one. When the headlights return, you know exactly where this road has been heading. But no longer as a bystander. You are in it with them. And somehow, for a fleeting moment, you still imagine they might outrun it. https://phoenixensemble.com.au

A Night of Sherlock Holmes Three classic tales in radio play format Directed by Jason Nash Play 1: The Adventure of the Speckled Band Play 2: A Scandal in Bohemia Play 3: The Case of the Blue Carbuncle “It’s my business to know what other people don’t know.” If modern FM radio is all loud ads, endless chatter, and the same five songs on repeat, then this is its elegant, intelligent ancestor. Long before podcasts, television, or breakfast hosts yelling nonsense in your car, radio was theatre placed right in your home. It relied on voice, atmosphere, and your own imagination. And Nash Theatre dives headfirst into that vintage magic with A Night of Sherlock Holmes . Five vintage-style microphones line the front of the stage. A glowing “On Air” sign reminds us we are in the recording studio. An “Applause” light prompts our participation to clap like we mean it. Just performers, scripts and sound. But wait, what's that upstage? Along the back wall are three live foley artists, concocting entire worlds from an assortment of random objects. Hats off to Mark Corben, Lara Latham and Emma Latham , who clearly relish every second of their controlled chaos. Foley is a delicate craft though. Sometimes, we could hear every little rustle of their scripts and every accidental movement through the mics. Tightening those silent moments will make the illusion even more immersive.   Arthur Conan Doyle first unleashed the dynamic duo of Sherlock Holmes and Dr. Watson upon the world in 1887, and it's hard to think of a literary character that's stuck around longer. Nash Theatre has made it a habit to kick off their year with a radio play, and this time they went for a hat-trick of Holmes adventures.   Director Jason Nash makes strong use of his experienced cast by rotating roles across the three plays. Between acts, the old-timey advertisements were humorous and well executed. However, trimming all the ads slightly next time would tighten the overall pacing. The jokes land without needing the entire promotional monologue, which probably adds 15 minutes to the run time. The short violin transitions between scenes paid a nice tribute to Holmes' musical inclinations. While I do question their necessity, they certainly added a touch of dramatic flourish.   There were nine performers in total, immaculately dressed in 1930s glamour. Ladies Sandy Adsett, Jenny Bonney-Millett and Kiah Latham embodied the era with polished poise. Red lips, pearls, furs and heels reminded us that even radio demanded style. Clear diction, supported projection and expressive delivery ensured that every clue landed cleanly. The cast remained fully engaged throughout. Even when seated, they listened and reacted. Mark Corben , in particular, was picking up every twist and turn. You'd think he was binge-watching his favourite show. By the end of the evening, I was mentally exhausted from the concentration because I enjoy trying to solve the mystery before the reveal.   Play One: 1930s – The Adventure of the Speckled Band Domonic Thurlow stepped into the shoes of Sherlock like he was born with a magnifying glass in hand, alongside David Hill as Dr Watson to deliver a refined and measured interpretation. Domonic is a standout for his natural pacing and ease with accent work. His Holmes feels assured and grounded, never forcing the intellect but simply inhabiting it. Kiah Latham portrayed Helen Stoner with believable anxiety. Her voice carried genuine fear without tipping into melodrama. Bruce Edgerton’ s Dr Grimesby Roylott was suitably booming and threatening, a voice that filled the room with menace. Meanwhile, in the foley corner, Lara Latham was having the time of her life. She frequently stole focus in the best way. The baboon sequence had the audience cackling because of the absolute commitment behind it.   Play Two: 1940s – A Scandal in Bohemia The second story shifted tone into something more stylised and playful. Caleb Hockings delivered a loveable, slightly goofy Watson with a very committed “gov’ner!” accent that drew plenty of laughs. Alex Thompson’s Sherlock retained intellectual sharpness, though he did trip over a word or two. The accent buffet in this tale was quite the feat and had me recalibrating my ears with so many variations flying around. Bruce Edgerton’s German-accented King of Bohemia suited him comfortably. Matt McNeice’s Irish accent was perfectly convincing. One of the evening’s most memorable lines comes here: “I was once tricked by a woman .” Even Holmes, it seems, is not immune to humility.   Play Three: 1950s – The Case of the Blue Carbuncle This was my personal favourite. For clarity, we are dealing with a dazzling blue gemstone here, not a dermatology 'carbuncle' emergency. Caleb Hockings returned, this time as Sherlock, opposite Matt McNeice as Dr Watson. Their back-and-forth was completely elementary, dear reader. Notably, they barely looked at their scripts, which gave their performance a freedom and confidence that lifted the entire piece. Set at Christmastime, the atmosphere was playful from the outset. Jingle bells rang. Carollers sang enthusiastically off key. Holmes began by deducing the entire life story of a man from a lost hat, played with smug precision by Caleb. His eyebrow acting alone conveyed complete intellectual superiority. Matt’s Watson was the perfect grounding force of the partnership, like a comforting cup of tea. Together, they most aligned with my mental image of the iconic duo. By this point, the humour was knowingly tongue-in-cheek, and it worked. Jenny Bonney-Millett’s radio announcer in this final segment was sometimes difficult to hear over the background music, but a little music adjustment would fix that in a jiffy.   Three decades. Three interpretations of Holmes and Watson. One nostalgic evening of storytelling. Radio theatre asks us to lean in and truly listen. It reminds us that you do not need spectacle to create compelling theatre. You need skilled performers, precise sound and an audience willing to imagine. By the end of the night, I was as mentally wiped out, because I love playing detective and cracking the case before the big reveal! A Night of Sherlock Holmes delivers exactly that. If you enjoy clever dialogue, well-crafted accents, vintage glamour and the delight of watching artists clearly having a ball, this is well worth tuning into.

Agatha Christie’s The Mirror Crack’d Centenary Theatre Group Director & Set Design:  Alison Lees Tech Design:  Brian Hobby Wardrobe:  Serena Altea Photography:  Julie Collins “One never knows when one's time has really come…” I spent my Sunday settling into the Centenary Theatre for an Agatha Christie whodunnit. The murmur of the audience carried that particular anticipation. Everyone quietly preparing to play detective and crack the case. And The Mirror Crack’d  delivers exactly that pleasure, wrapped in glamour, secrets, and the dangerous fragility of reputation. The tea is poured, the accents are (mostly) sharp, and you can bet your magnifying glass someone’s certainly about to die. First published in 1962 and set in that same year, this tale remains one of Christie’s more reflective mysteries. It has been adapted several times, most notably in the 1980 film, and draws loose inspiration from the tragic real-life story of Gene Tierney. At its heart sits one of Christie’s most beloved sleuths, Miss Marple, who is quietly wrestling with ageing, independence, and relevance. Set in the quintessential English village of St Mary Mead, a charity fête hosted by glamorous film star Marina Gregg takes a deadly turn. Polite small talk and star-struck excitement fracture into suspicion and buried trauma. he audience gets to play detective, watching the same scene unfold from different viewpoints in a series of flashbacks. It is a structure that rewards attentiveness, as clues hide in mismatched details and subtle emotional shifts. Meanwhile, with a sprained ankle confining her to an armchair, Miss Marple must rely on recollections and contradictions to piece the puzzle together, assisted by Chief Inspector Craddock.   The inclusion of a video screen displaying black and white newsreel footage immediately grounds us in the early 1960s. It is an effective visual touch that adds context without overwhelming the action. CTG are usually meticulous with their visual worlds, and while this set establishes location, I found myself craving more period detail in the interiors. More refinement and perhaps a stronger sense of faded glamour beyond the mirror vanity to match Marina’s world. The wardrobe does not always lean into the 1962 setting either. For a Christie, visual detail helps anchor the stakes, and a few additional flourishes would deepen the immersion.   Desley Nicholas  as Miss Jane Marple captures her propriety and curiosity beautifully. There is a quiet steeliness beneath her gentle manner, particularly evident as she politely but persistently pries into everyone’s affairs. She balances fragility and intellect with care, and when she eventually pieces together the truth, you know she's earned it. Miss Marple must appear harmless while secretly acting as the Sherlock solely through observation, and in this role, Desley becomes the backbone that supports the entire show. Selina Kadell  as Marina Gregg brings glamour and volatility in equal measure. Draped in a striking red gown, she embodies the enigmatic film star concealing uncomfortable truths. Marina must be dazzling yet deeply vulnerable, and Selina leans into that duality well, particularly in her more emotional moments. She should definitely amplify the diva drama even further, similar to the scene when she is portraying Catherine of Aragon. Erik de Wit  as Chief Inspector Dermot Craddock is properly British and satisfyingly stuffy, grounding the production with official authority and a hint of impatience. He works well as the pragmatic counterbalance to Marple’s intuitive methods. Traci Sumpter  as Dolly Bantry was a scene stealer for me. Rosy-cheeked and socially unstoppable, she is the neighbourhood busybody we recognise instantly. Her side eyes and sassy commentary hit the comedic jackpot every time. Dana Stolp  as Cherry Baker brings youthful nervousness and sweetness, while Natalie Pedler  as Heather Leigh injects excitable energy into all her scenes. I genuinely wish we saw more of her! Peter Van Werkhoven  as Jason Rudd captures the slightly haughty, self important demeanour of a film director convincingly. Rounding out the company is Emily Pell  as Lola Brewster, the bright young ingénue, Keith Scrivens  as Cyril Leigh, ever the overlooked Mr Cellophane, Samantha Broome  as Ella Zielinsky, the devoted and watchful assistant, and Trevor Bond  as Giuseppe Renzo, the loyal butler firmly trapped within Marina’s gravitational pull. Each contribute to the layered web of gossip, suspicion, and shifting alliances. This cast handles a substantial script with admirable stamina. Christie is famously dialogue heavy, and there are tonnes of lines to navigate. As the run continues, tightening a few exchanges and sharpening line cues will only strengthen the rhythm and vocal clarity that a mystery like this relies upon. Alison Lees honours the traditional Christie structure, allowing the mystery to unfold methodically. The split scene flashbacks and carefully staged tableaux support the storytelling well, and blocking is used to emphasise overheard conversations and isolation. For me, the pacing sits slightly on the leisurely side. Tightening transitions or quickening certain exchanges would heighten tension and keep the investigative momentum humming. Christie adaptations live or die on pace. Too slow and the suspense softens. Too rushed and the audience loses the clues. With a little sharpening, the tension could build even more satisfyingly toward the final unmasking. Christie often treats murder with a curious lightness, and this production embraces that tonal balance between dark intrigue and Brit comedy.   The Mirror Crack’d  is ultimately about more than a poisoned drink. It is about ageing, identity, reputation, and the cost of fame. Marina Gregg and Miss Marple stand as two brilliant women confronting time and navigating loss in very different ways. One is desperate to preserve her image. The other quietly proves she is still formidable. Centenary Theatre Group delivers a respectful and carefully constructed whodunnit, layered with gossip, glamour, and just enough red herrings to keep you guessing. It is the kind of show that invites you to lean forward and pay attention. Because in Christie, the smallest detail matters. And just when you think you have solved it, the mirror cracks again.

Taruna Jayawardhana's 'A Classic Tale' – Liam Hartley Picture this. You’re back in a Grade 8 English classroom, trying to present your “unconventional fairytale” assignment with a straight face. That exact energy is what Liam Hartley captures and turns into a full night of theatre and comedy. The premise alone had me hooked. A former classmate of Liam's, Taruna Jayawardhana, wrote this wildly memorable story as a teenager. Years later, Liam asks if he can turn it into a show. And his response is essentially “umm sure?” Armed with Taruna’s original exercise book, full of drafts, edits, and all the charm of teenage writing, Liam builds an entire performance around it. It plays out as a narrated, live-action PowerPoint presentation. The notebook becomes this treasured artefact, while the slides, designed with illustrations from friends and family, bring the story to life. The timing of the PowerPoint is spot on. Jokes land exactly when they should, visuals pop up at just the right moment, and it all feels very intentional without losing that scrappy, homemade feel that suits the story perfectly. The comedy is baked into the writing itself. Character names that sound suspiciously familiar. Entire locations that seem casually borrowed. Dialogue that is so simple it circles back to being iconic. Plot points appear, disappear, and reappear with absolutely no concern for logic. Liam leans into all of this with a kind of theatrical analysis, gently (then aggressively) calling it out, while also celebrating it. It feels like sitting next to a very funny friend who is flipping through their old schoolwork and absolutely losing it. Liam moves between storyteller, commentator, and performer without ever dropping the energy. It is a lot to carry solo, but Liam holds the room with complete ease. It is almost a one-man show, but not quite... because a few brave, self-selected audience members are pulled in to portray characters, and these moments are some of the best of the night. Watching someone commit to playing a dragon in a onesie, guided through the madness, is exactly as funny as it sounds. The audience participation is handled with care, so it feels playful rather than awkward. This is very much my kind of show. I am a big kid at heart. Give me fairytales, a bit of nonsense, and comedy that does not take itself too seriously. This show ticks all of those boxes. Plus, there are plenty of surprises woven through that I will leave for you to discover, but it definitely keeps you on your toes! What I loved most is how it honours that original piece of writing. All the randomness, all the questionable choices, all the imagination. It turns something that could have stayed forgotten in a school book into a shared experience full of laughter. A Classic Tale lives up to its name, just not in the way you expect. I would happily sit through this tale again!

Music by:  Andrew Lloyd Webber Lyrics:  T. S. Eliot Principal Cast: Grizabella – Gabriyel Thomas Bustopher Jones/Asparagus – Todd McKenney Old Deuteronomy – Mark Vincent Jellylorum – Lucy Maunder Rum Tum Tugger – Des Flanagan Munkustrap – Jarrod Draper Jennyanydots – Leigh Archer Mr Mistoffelees – Tim Haskayne   It felt about time that I finally saw Cats ! This Andrew Lloyd Webber musical has been prowling around the world’s stages for over forty years, yet somehow it had eluded me until now. Our theatre landscape is currently bursting with flashy new film-to-stage adaptations like Pretty Woman , Anastasia , Beetlejuice , and Back to the Future , along with repeat juggernauts like Wicked , The Book of Mormon  and Six. In the words of the show itself, “the modern productions are all very well..." but it was energising to finally witness one of the true giants of the musical theatre canon. And what a way to experience it! The musicians absolutely did not hold back as the overture score surged out of the pit with full power. The theatre itself was packed to the rafters, and the audience energy was electric. Sitting in Row O (first row of the back of the stalls) turned out to be the perfect vantage point when the Jellicle cats began wandering through the aisles. The production made brilliant use of the entire theatre, not just the stage. Performers climbed, slinked, leapt and prowled across every available surface, swinging on structures, running along the edges of the orchestra pit, and interacting with audience members. You were never allowed to forget that you were inside their world now. Even during the interval, the illusion continued. Old Deuteronomy quietly remained on stage, observing the theatre like a wise old feline guardian. The design was wonderfully atmospheric too. John Napier’s iconic junkyard set provided endless levels and nooks for the cats to explore and hide, while the lighting design transformed the space constantly. Pawprint-like lights stretched across the theatre walls and ceiling, drawing the entire auditorium into the Jellicle playground. Glowing green eyes appeared in the darkness as the cats crept in through the stall doors. Strobes and flashes punctuated magical moments, while sirens blared during the dramatic sequences. But mostly, soft moonlight washed the stage in eerie blues and silvers. If there is one thing that becomes immediately obvious is that this is the ultimate ensemble show. Performing in Cats  must surely be one of the most physically demanding gigs in theatre. These performers must leap, tumble, and prowl like felines for the entire show, often while holding impressively difficult vocal lines. The stamina shown across the company was seriously impressive. And this cast delivered. Savannah Lind and Jake O’Brien were standouts as Rumpleteazer and Mungojerrie, bringing some serious swing to their jazzy number. Their playful chemistry and tricks made the whole sequence a real highlight. Tom Davis was phenomenal as Shimbleshanks the Railway Cat. The athleticism in that number was something to behold, combining rhythmic choreography with impressive acrobatics. Edward Smith’s Macavity brought a burst of big band swagger to the show, with booming brass in the score and a troupe of Macavity girls delivering fierce vocals and slick moves. Des Flanagan as Rum Tum Tugger was the epitome of rockstar charisma. He reminded me of legends like Tim Curry or Freddie Mercury, strutting across the stage with playful confidence and a magnetic presence. Todd McKenney looked like he was having an absolute ball in his dual roles as Bustopher Jones and the aging theatre cat Asparagus. He leaned fully into the theatricality, delivering both characters with plenty of flair and just the right amount of comic exaggeration. Tim Haskayne dazzled as Mr Mistoffelees, a sparkling whirlwind of precision dance and showmanship. His magical solo was met with huge applause, and rightly so. Mark Vincent’s Old Deuteronomy brought a deep, operatic richness to the production. His commanding voice and gentle authority grounded the show beautifully amid all the chaos and spectacle. Then there was Gabriyel Thomas as Grizabella. Under layers of scruffy fur and weary makeup, she delivered the show’s emotional heart. When the familiar opening notes of “ Memory ” played, the theatre grew still. Her voice soared through the auditorium with warmth, vulnerability and power, and by the final notes it was clear the audience had been completely swept up in the memory too. I had goosebumps all over! What struck me most about Cats  is how fancifully strange it is. The lyrics come from T.S. Eliot’s whimsical poems, and the music swings from lyrical ballads to odd rhythms and playful character songs. It definitely feels less like a traditional musical and more like a full-length dance ballet with bursts of spectacular singing. Speaking of which, the choreography is truly the backbone of the production. The feline movement language is so detailed and committed that you quickly stop seeing performers and start believing in a tribe of Jellicle cats gathering for their mysterious annual ball. And seeing the “Jellicle Ball” performed live was completely entrancing; I just sat back and took it all in, completely transfixed. By the final curtain, I found myself absorbed by the sheer theatricality of it all: the energy, characterisation, vocals, costumes, makeup and choreography make it impossible not to be impressed. After forty years, the Jellicle cats clearly still know how to put on a show. Now if you’ll excuse me, I’m off to sing to my own cats.

For the Sake of Love Sun and Wine Arts Company Wonargo Revue, Brisbane Writer:  Claire Yorston Director:  Cherie McCaffery Cast: Amber Lawson as Julia Reagan Warner as Mark Ben Kasper as Oliver Laura Renee as Ash Cristian Stanic as Jacob Hayden Parsons as Josh Claire Yorston as Sophie Emma King as Lucy Hamish Chappell as Cupid   Valentine’s Day may be about love... but in this office it seems to be about very questionable decision-making. For the Sake of Love  quickly proves that the subject is rarely simple. Presented by Sun and Wine Arts Company at the Wonargo Revue, this original Brisbane work takes the romantic comedy format and reshapes it into something a little messier, a little more honest, and far more relatable.   The intimacy of the venue meant there was nowhere to hide. The audience sat just a few feet from the in-the-round action, close enough to catch every awkward glance, overheard confession, and workplace misunderstanding. I loved feeling like the wallflower colleague watching the office drama unfold from my seat.   Written by Claire Yorston , this play unfolds in the office of a book publishing company, where eight colleagues navigate a tangled web of attraction, heartbreak, friendship, and self-discovery over the course of a year. Imagine a relationship chart that starts to resemble a conspiracy board as feelings shift, overlap, and collide. Colour-coded books cover the desks, wheeled office chairs are labeled with each character’s name on the back, and the layout suggests different corners of the office without needing elaborate scenery. Lighting from all sides, including hanging bulbs overhead, washes the space in alternating pink, blue, and white tones. Basically, the only thing missing was a coffee machine, a water cooler, and someone loudly microwaving their lunch in the break room.   And then, there is Cupid… Hamish Chappell appears intermittently as the mischievous instigator of the entire affair, sporting wings, a towel-like diaper, a bushy beard, and occasionally a necktie for good measure. Because it turns out even Cupid has to look business casual. His entrances always earn a ripple of laughter from the crowd and serve as an odd reminder that love may arrive when nobody asked for it. Even the interval keeps the theme alive, with audience members invited to scribble anonymous love notes to the cast aww!   What I appreciated most about Claire Yorston’s writing is that it resists the usual romantic comedy shortcuts. Attraction here is fluid. Love can be unrequited, fleeting, complicated, or entirely unexpected. Rather than leaning on familiar tropes, the script allows each character to explore their own perspective on connection, desire, and vulnerability. Chances are you will recognise a little bit of yourself in at least one of them.   The dialogue feels particularly authentic. Much of the script consists of quick office banter that swings between gossip, awkward silences, flirty encounters, and tension. It captures the rhythm of workplace conversations remarkably well. People talk over each other, misread situations, overshare, and say the wrong thing. The office dynamics here quickly become complicated enough that HR would almost definitely step in.   Cherie McCaffery’s direction keeps the space in constant motion. Characters weave around one another, shifting chairs and furniture as conversations spark, overlap, or fizzle out. At times scenes play simultaneously, with characters sharing the same room yet existing in completely different emotional worlds. With the staging continually shifting perspective, they prevent the energy from settling for too long. And they even occasionally throw in a spontaneous dance break as an unexpected reset.   Structurally, the play follows the characters across more than a year of office life, giving each person a chance to reveal their inner thoughts through a dedicated monologue. These moments are not always profound or poetic, but that is the point. Sometimes they simply allow us to hear what the character is thinking and feeling that the others cannot. Everyone gets their moment to speak their truth; and I enjoyed every single monologue delivery.   The ensemble works well together, creating a believable workplace dynamic. Claire Yorston as Sophie comes across as hard-working, sweet, impulsive, and the kind of colleague who genuinely wants everyone around her to succeed. Laura Renee delivers a layered performance as Ash, balancing a fun exterior with underlying insecurity. Her character’s emotional arc is particularly affecting, and she captures the heartbreak within her storyline so beautifully.   Ben Kasper stands out as Oliver, a character who initially seems destined to fade into the background. Instead, he becomes one of the most interesting figures on stage. Oliver talks far too much, often revealing more than he intends, and exists in that curious space between self-aware and completely oblivious. What makes him compelling is that beneath the "nice guy" act he truly is a good person.   Emma King as Lucy, (basically Rapunzel), is equally memorable. She portrays someone hilariously and hopelessly devoted to a love that can never materialise. Lucy is charming, funny, and disarmingly sincere. Hayden Parsons brings a quiet intensity to Josh, playing the character with a thoughtful, introverted seriousness. Cristian Stanic leans fully into Jacob’s flamboyant theatricality, creating a character who is dramatic, loud, and wonderfully entertaining.   Amber Lawson’s Julia carries herself with confident authority as the boss of this incestuous work team. Her presence suggests someone accustomed to being in control, yet still navigating emotional complications of her own. Reagan Warner as Mark balances charisma with vulnerability, presenting a man who is articulate and charming until his tendency to interrupt reveals the anxiety of someone who has been hurt before. The play is undeniably ambitious. With eight central characters and a wide network of relationships to explore, the story has a lot of ground to cover. The runtime reflects that, with a full intermission included. While the length occasionally slows the pace, it also allows each character’s storyline to develop with true care.   One small note I found myself wishing for was a stronger sense of closure from Cupid. Since he opens the story and sets events into motion, it would have been satisfying to see him return at the end to tie everything together. Still, For the Sake of Love  presents an engaging and thoughtful piece of theatre. It is full of recognisable moments about the strange ways people fall in and out of love (or something like love). It can be peaceful, perplexing, painful, inconvenient, awkward, or heavenly. Rather than presenting romance as a tidy fairy tale, the show embraces the unpredictability that comes with real human relationships and all the various forms of love they contain.

Title:  The Addams Family Presented By:  Millennial Productions Genre:  Musical Theatre   Synopsis:   The Addams’ have lived by their unique values for hundreds of years and Gomez and Morticia, the patriarch and matriarch of the clan, would be only too happy to continue living that way. Their dark, macabre, beloved daughter Wednesday, however, is now an eighteen year-old young woman who is ready for a life of her own. She has fallen in love with Lucas Beineke, a sweet, smart boy from a normal, respectable Ohio family - the most un-Addams sounding person one could be! And to make matters worse, she has invited the Beinekes to their home for dinner. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations: change.   Audition Dates:    March 14th & 15th, 2026 Callbacks - 19th March Audition Times: Additional Individual slots added March 12th & 13th evenings!  March 14th Individual Slots - 1:20PM - 8:30PM March 14th Dance Call - 4:15PM (1.5 hours) March 15th Individual Slots - 8:20AM - 11:15AM March 15th Dance Call - 11:30AM (1.5 hours) Audition Location and Address:   March 14th - Grange Community Hall, 187 Wilston Rd, Newmarket QLD 4051 March 15th - Zillmere Hall, 52 Murphy Rd, Zillmere QLD 4034 Audition Self-Tape:  To register for a video audition, please complete the Video Audition Registration Form   Audition Requirements:   Please prepare two contrasting pieces in the style of the show, one of which should lean into a legit or contemporary legit style. In addition, we have provided a small 8 bar vocal round ‘Morning Has Come’ which will be sung in canon against a member of the production team without accompaniment to give the team an idea of your part singing/harmony ability. Please bring backing tracks on a USB or an AUX cord compatible device. Please prepare the sides for your first-preference character. You do not need to be off book, but we recommend familiarising yourself with the material before your audition. All auditionees are required to attend a 1.5 hour group dance call. During this dance call you will have the opportunity to perform the choreography (provided) in addition to learning an advanced choreography piece. Audition Registration:   Complete the Registration form HERE to register for your audition Audition Pack:  The Addams Family Audition Pack   Performance Dates:  July 3rd - 11th, 2026  Performance Location:  Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, Queensland 4170   Rehearsal Dates:  Commencing April 9th 2026 for 12 weeks Rehearsal Times:    Tues & Thurs - 7PM - 10PM Sun - 3PM - 8PM Intensives - May 16th, 2:30 - 8PM & June 13th, 9AM - 3PM Rehearsal Location:  Vary between Hamilton, Upper Kedron, Grange Hall & St Lucia   Performer Age:  Performers aged 16yrs+ Creative Team:  Director - Taylor Atley Musical Director - Kaitlyn Evans Choreographer - Lauren Bensted Assistant Director - Amelie Clarke Production Website:   Millennial Productions - The Addams Family   Available Roles/Character Breakdown: Gomez Addams | Baritone/Bass C2 - B3 | Playing Age: 40+ A suave man who adores his wife and children and takes immense pride in being an Addams. He struggles with having to keep his daughter’s secret from his wife, whom he adores more than death. Morticia Addams | Mezzo-Soprano/ Alto G3 - A5 | Playing Age: 40+ The strength of the Addams family who believes strongly in family tradition. Morticia is unnerved thinking that Gomez is hiding something from her. She is confident with a side of dry wit. Feels her husband is hiding something from her and will use any tactic to lure the secret out. Wednesday Addams | Mezzo-Soprano A3 - E5 | Playing Age: 16 - 21 Big sister Wednesday who has her father’s heart and her mother’s sensibility and dry wit falls in love with a “normal” boy who she brings home to meet the family. Wednesday is trying to balance her relationships with her “strange” family with that of her new love and his “normal” family. Wednesday showcases compassion, a bit of stubbornness and strong will. Pugsley Addams | Tenor A2 - F5 | Playing Age: 16 - 21 The youngest of the Addams Family, Pugsley loves to be tortured by his big sister. He is lost trying to figure out his place now that she has a new boyfriend and family dynamics are changing. He wants to ensure he won’t lose his sister to her new boyfriend so he takes matters in to his own hands. Uncle Fester | Tenor/Baritone C3 - E4 | Playing Age 30+ Serving as the narrator of the show, Uncle Fester is larger than life, lovable, childish, enthusiastic and highly incorrigible. Grandma | Soprano G4 - F5 | Playing Age 60 - 80 Fun, quirky and feisty, Grandma always has a trick up her sleeve. Grandma is wise, wacky and sometimes a bit crass. Don’t mess with Grandma! Lurch | Bass D2 - E2 | Playing Age 30+ A man of few words, Lurch is the Addams Family butler. His unmistakable commanding presence is accented by grunts, moans and deliberate movement. Mal Beinecke | Tenor C3 - A4 | Playing Age 40+ The uptight and stuffy father of Lucas and exasperated husband to rhyming Alice, cynical Mal meets the Addams with skepticism. He finds the Addams to be too bizarre for his liking and cannot fathom being related to them. Alice Beinecke | Soprano G3 - G5 | Playing Age: 40+ Lucas’s mother and Mal’s wife, Alice is strongly devoted to her family. She presents herself as reserved and collected (even when speaking in rhyme) until she learns to unleash her wild side at dinner with the Addams. Lucas Beinecke | Tenor/Baritone C3 - E4 | Playing Age: 18 - 24 The hopeful romantic and son of Alice & Mal, Lucas has fallen in love with Wednesday and intends to marry her. He is optimistic and hopeful yet struggles to find the balance between his “normal” family and the macabre Addams. The Ancestors The Addams ancestors from various eras serve as the chorus for the show and help bring the story to life. They will be featured both singing and dancing throughout the entire show (once relapsed from the family crypt!).

Title:  2026 Law Revue Presented By:  QUT Law Society Genre:  Comedy Sketch / Musical Show    Synopsis:    What is Law Revue? It’s the most epic and hilarious original comedy sketch musical show, written, produced, directed, and performed entirely by QUT law students! A mix of sharp humour, satirical sketches, and show-stopping musical numbers, it’s the ultimate celebration of talent, creativity, and legal laughs. Auditions are in WEEK THREE, and we’re on the hunt for some legends to make this year’s show our best yet.   Audition Date:  March 9th - 13th, 2026 Audition Time:  from 6PM daily Audition Location and Address:  TBC Audition Self-Tape Due: by Friday March 13th, 2026 at 6PM     Audition Requirements:  Complete the registration form Audition Registration:  Register to audition HERE   Performance Dates:  August 28th & 29th, 2026 Performance Times:  TBC  Performance Location:  TBC   Production Website:   QUTLS