The Addams Family Presented by: Millennial Productions Venue: Ron Hurley Theatre, Seven Hills Music and Lyrics: Andrew Lippa | Book: Marshall Brickman and Rick Elice | Based on characters by: Charles Addams Director: Taylor Atley | Assistant Director: Amelie Clarke Musical Director: Kaitlin Evans Choreographer: Lauren Bensted | Assistant Choreographer: Kennedy Foley Lighting Design: Pavani Wickremasinghe Sound Design: Lane Agostinelli Costume and Wig Design: Taylor Atley Set Design: Taylor Atley and Jacob Atley Photography: By B’rit Creative and Red Dog Productions "Life is a tightrope, my child, and at the other end is your coffin." I have somehow made it this far in life without seeing The Addams Family musical! So, I arrived knowing only the important basics: the click click, the monochrome branding, and the general commitment to death as a personality trait. What caught me off guard was how much heart was sitting beneath the gloom. It's really a story about growing up, letting go, and accepting that the people we love might be slightly different weirdos than the weirdos we expected they'd be. Presented by Millennial Productions at Ron Hurley Theatre, The Addams Family follows Wednesday Addams, who is growing up and has fallen in love with Lucas Beineke: a sweet, seemingly normal boy from a respectable Ohio family. She invites Lucas and his parents over for dinner, but first asks her dad (Gomez) to do the unthinkable... keep her engagement a secret from Morticia! For a guy whose entire personality is his devotion to his wife, this is basically emotional terrorism. Throw in Uncle Fester, Lurch the butler, little bro Pugsley, wacky Grandma, and a house full of dead Ancestors and you've got yourself a par-tay! Naturally, this strange dinner quickly spirals with family pressure, truth-telling games, accidental potions, and the Addams clan facing something their beloved darkness cannot shield them from: change. Tristan Vanyai heads the family as Gomez, a loveable, devoted husband and father who would do anything to keep the women in his life happy, even when that means emotionally short-circuiting for two acts, much to the audience’s enjoyment. His song “Happy Sad” with Wednesday captures that painful little parental realisation that your child is becoming their own person. His dynamic with Ruby Thompson’s Morticia is a treat too, with their height difference played for laughs and their chemistry full of frustration and flirtation. Ruby Thompson is a clear standout as Morticia. She looks the part instantly: tall, slinky and elegant, with sharp brows, dramatic liner, striking nails, and hips that don’t lie. She floats through the production with the composure of someone who has never once apologized for being overdressed at a funeral. Thompson brings dry humor, a killer smile, fluttering eyelids and tightly controlled drama to the role. Every line carries a hint of danger, and her old Hollywood-style voice suits the smoky glamour and gloom of Morticia beautifully. While Morticia may appear cool on the surface, Thompson lets the cracks show whenever Wednesday pulls away. And it stings because mother and daughter are so clearly cut from the exact same black velvet cloth. Angelina Bourke gives Wednesday all the eerie, rigid, deadpan intensity you want, while still showing the pull of a young woman caught between her family and her feelings. Her solo “Pulled” is an early highlight, showing off her insanely impressive voice and dark comedic touch. “Crazier Than You” shines too, because by then, the idea of being crazy in love actually sounds pretty appealing. Jamieson leaps onto the stage as Pugsley like a hyperactive little frog. Amid all the sibling shenanigans, Pugsley’s fear of losing Wednesday gives the character an emotional undercurrent. Their solo “What If” turns little-brother anxiety into something surprisingly tender: the heartache of realising your favourite torture buddy is growing up and leaving you behind. Caleb Holman is a crowd favourite in the role of Uncle Fester, bringing a playful, offbeat sweetness to every scene. Fester's romantic saga with the moon is one of the oddest bits of the musical (and that's really saying something), but Holman dives in with full enthusiasm. Plus, kudos to him for shaving his head for the part. Now that's commitment! Aden Lowry has mastered the art of playing Lurch: stillness, silence, miming, and the looming presence of the Frankenstein-adjacent butler. Lowry spends the show lurking around in a maid’s outfit and observing everyone else’s chaotic antics without cracking a smile (which is definitely harder than it looks!) Mik Bobart as Grandma is random, noisy, and completely unbothered by conventional reality. She seems to operate on her own private frequency, occasionally tuning into the rest of the show only to cause trouble before wandering back into the mist. Carly Wilson is a major highlight as Alice Beineke. At first, she is polite, cheerful and deeply repressed, but once the truth starts escaping, Wilson turns her into full musical theatre detonation. Her solo “Waiting” is belted out with comedy, frustration and liberation. Her duet with Ruby Thompson in “Secrets” also works beautifully, with Morticia’s cool control contrasting Alice’s increasing instability. Zach Price gives Mal Beineke the necessary stiff-collared rigidity, setting up the collision between respectable suburbia and gothic household. Hunter Ireland brings an earnest sweetness to Lucas, Wednesday’s normal boyfriend - though in this show, “normal” should always come with quotation marks. The Ancestors, played by Caitlyn Brindley, Emily Fuller, Ally Hickey, Lucinda Isbel, Aidan Cobb, Peter Wood, Ellen Axford, Emily Rohweder, and Sian Van Blerk, bring the Addams family’s dead relatives to life (get it?) with committed, detailed character work and odd little portraits from the family tree. Also, shoutout to Daniel Lelic as Thing, popping up throughout as the household’s disembodied helper. Taylor Atley and Jacob Atley’s set design wastes no time dropping us into the Addams family home, which is less “come on in and get cozy” and more “please mind the electric chair.” The set is like a spooky graveyard playground, packed with all sorts of morbid little details. Here, headless dolls and dead bunnies are not red flags, but rather interior design choices. As the iconic Addams Family theme played, the audience instinctively snapped along - it must be hardwired into our collective memory! Lane Agostinelli’s sound design and Pavani Wickremasinghe's lighting adds haunted-house vibes, while fog creeping from the staircase adds to the ghostly drama. That visual world is most enhanced by Atley’s costumes, wigs, and makeup. Each member of the Ancestors ensemble possesses their own ghostly backstory, so well disguised that I almost failed to recognise any of the performers! Lauren Bensted’s choreography keeps the stage buzzing, especially whenever the Ancestors suddenly join the routine. “When You’re an Addams” and “One Normal Night” have that satisfying big-group buzz at this haunted family reunion. “Tango De Amor” showcases Ruby Thompson’s Morticia in all her gothic elegance - the dress, the wig, the shoes, the backbend! While “Death is Just Around the Corner” turns from solo into spectacle, complete with a kick-line and faultless harmonies. Kaitlin Evans’ musical direction brings out the score’s mix of comedy, character and big musical theatre drama. “Full Disclosure” is the strongest group moment, with the vocals, drama, and prop choreography all working together. But the final surprise belongs to Aden Lowry, whose glorious bass voice appears after a whole show of silent looming. Millennial Productions finds the warmth beneath the cobwebs in a production that is funny, visually detailed, and full of big character performances. It has all the gloom, glamour and family dysfunction you could want. The Addams family may be obsessed with death, but this production is very much alive.

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, Bowen Hills Rehearsal Dates: April 13th - 17th, 2026 Rehearsal Times: Intensive structured rehearsal process (daily schedule provided upon casting) Rehearsal Location: 127 Sandgate Rd, Albion Performer Age: 12–17 years 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: ORPHEUS: High Tenor with falsetto up to G#5. (A2 – F5). Orpheus is an optimist, an idealist, a counter-culturalist. Orpheus should feel unique and have the sensitive soul of an artist. Plays guitar. HADES: Bass. G1 – Eb4 Lord of the Dead. Powerful, immortal and deeply in love with Persephone. Strong authoritative presence. Tyrannical and a bit menacing. PERSEPHONE: Alto/Mezzo. (E3 – C5). Goddess, playful, mercurial and fun. Persephone is not too feminine and lets her sharp edges show. She is the seasons and is cut from the same cloth as Orpheus. She must have a wryness and intelligence that she uses sharply for both entertainment and as a defense mechanism. HERMES: Tenor/baritone. (D3 – B4) Hermes is the narrator/guide/emcee of the story. Charismatic, often mysterious, with a trickster-ish quality. EURYDICE: Alto/Soprano. (E3 – E5). A practical leading heroine with an extremely vulnerable underbelly, a haunted bird. She takes the leap to the underworld as a step towards something reliable. There is both toughness and delicacy in her being and her singing; she uses a belt for some songs, real subtlety for others. FATE 1: (F#3 – E5) FATE 2: (G3 – E5) FATE 3: (F3 – C5) Powerful and dark. Operate as one of the “voices in the heads” of the other characters. Fates may play instruments of some kind and should be skilled with harmonies

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.

Title: The Nutcracker Presented By: Toowoomba Ballet Theatre Genre: Ballet / Dance Synopsis: Toowoomba Ballet Theatre's 2026 production reimagines the beloved Christmas classic The Nutcracker with a contemporary twist. Rather than a traditional classical ballet, this production draws inspiration from the Four Realms, introducing new characters, storylines and worlds while showcasing dancers of a wide range of styles and strengths. Audition Date: Sunday 12 July 2026 Audition Location and Address: Toowoomba Ballet Theatre Studios, 9 Railway Street, Toowoomba City Audition Self-Tape Due (if applicable): Video submissions due Saturday 11 July 2026 (for dancers unable to attend in person). Audition Requirements: In-person auditions are strongly preferred. No solo is required for the 2026 Nutcracker auditions. All audition content will be taught on the day. Audition classes include classical technique, pointe (where appropriate) and combinations taught during the audition. Wear a plain leotard and ballet tights for classical sections. Fitted shorts or short skirts/half tutus may be worn if appropriate. No costumes or props. Dancers with special skills requiring apparatus (e.g. aerial silks or lyra) may submit a supplementary video at no extra cost. Minimum audition age: 8 years. Audition Registration: Register online: https://pci.jotform.com/form/261097808126865 Audition Pack: View the 2026 Prospectus: https://www.toowoombaballettheatre.com/auditions/ Performance Dates: Saturday 19 December 2026 Performance Location: The Empire Theatre, Toowoomba Rehearsal Dates: Monday 28 September – Friday 2 October 2026 (Studio Rehearsals) Saturday 3 October 2026 (Photo Day) Sunday 18 October, Sunday 1 November, Sunday 15 November & Sunday 29 November 2026 (Alternate Sunday rehearsals) Sunday 13 December – Thursday 17 December 2026 (Studio Rehearsals) Friday 18 December 2026 (Stage Rehearsal) Warnings: Attendance at rehearsals and performances is expected. Dancers may miss up to three rehearsal days for prior commitments. Participation involves strenuous physical activity. Performer Age: Ages 8 years to Adult Creative Team: Artistic Director: Mia Huston Production Website: https://www.toowoombaballettheatre.com/auditions/ Other information: Registrations close Friday 10 July 2026. Audition Fee: $30 (In Person) or $50 (Video Submission). Production Fee: $849 per dancer (includes rehearsals, costume hire, insurance, production shirt, videography and more). Adult dancers (18+) receive a 50% fee reduction.

Title: Rope Presented By: St Luke’s Theatre Society Genre: Psychological Thriller Synopsis: Rope is a tense psychological thriller in which Wyndham Brandon convinces his impressionable friend Charles Granillo to commit murder purely for the thrill of it. They conceal the body in a chest and host a dinner party around it, inviting guests including the victim’s father. As the evening unfolds, suspicion grows—particularly from the perceptive Rupert Cadell—and the strain of their crime begins to unravel the pair. The play, which predates the famous film adaptation by Alfred Hitchcock, presents a gripping exploration of morality, arrogance, and psychological pressure. Audition Date: Saturday March 21st, 2026 Audition Time: 10AM Audition Location and Address: St Luke’s Theatre, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Audition Requirements: Prepare a 2-minute monologue (preferably from a 20th-century drama; no comedy) Be prepared to read excerpts from the script (provided at audition) Audition Registration: Email interest or enquiries to the director, Nigel Munro-Wallis on nigelmunrowallis@gmail.com Audition Pack: Script excerpts provided at the audition Performance Dates: June 5th - 20th, 2026 Performance Location and Address: St Luke’s Theatre, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Warnings: Themes of murder and psychological tension Performer Age: All performers must be adults (18+) Creative Team: Director - Nigel Munro-Wallis Production Website: St Luke's Theatre Society - Rope Other Information: For questions or to register interest, email: nigelmunrowallis@gmail.com Script readings will be part of the audition process Available Roles / Character Breakdown: Wyndham Brandon Male, Early–Mid 20s A confident and intellectual student who masterminds the murder for the thrill of it. Charles Granillo Male, Early–Mid 20s A nervous and impressionable student who is drawn into Wyndham’s plan. European background. Kenneth Raglan Male, Early–Mid 20s A fellow student and guest at the dinner party. Leila Arden Female, 20s–30s A sharp and socially aware young woman. Mrs Debenham Female, 40s–60s A formidable and strong-willed woman. Sir Johnstone Kentley Male, 35–60 A thoughtful, bookish man and father of the victim. Rupert Cadell Male, Late 20s–30s A perceptive and probing would-be poet who begins to suspect the truth. Sabot Any gender, any age A servant present throughout the dinner gathering.

Written by Matthew Ryan Presented by Ad Astra Director | Fiona Kennedy Assistant Director, Set Design, Projections, Wigs | Stacie Hobbs Stage Manager | Chloe Rose Costume Design | Georgina Purdie Lighting Design | Geoff Squires Sound Design | Tommi Civili Choreography | Nicholas Coubrough I always find it hits differently when a story is set somewhere you know well. Brisbane isn’t just a backdrop here, it’s the TITLE and the heartbeat of the story. We don’t often think of Brisbane as a “war story” setting, but it turns out, history was unfolding right here in our own backyard. The play is set in 1942 and is told by 14-year-old Danny, who has a head full of stories and a romanticised view of war. He idolises his older brother Frank, until reality crashes in with devastating force. When American troops arrive in Brisbane, Danny’s world begins to shift in ways he could never have imagined. This coming-of-age tale is shaped by war, loss, and a reality Danny is unprepared for. The writing blends wartime realities with a distinctly Aussie perspective, where humour, resilience, and a touch of cheekiness coexist with heartbreak. The impact of combat loss hits sooner than I expected, shattering the family's illusion that Frank was somehow invincible. Under Fiona Kennedy’s direction, and Bailey Sprecak’s lively narration, the piece sustains a strong sense of momentum and brings a contemporary theatrical rhythm to the historical setting. The Galaxy stage at Ad Astra Theatre is used in full, with a multi-level wooden set that captures both the intimacy of a family home and the expansiveness of memory. A simple armchair, lamp and radio ground us in the 40s era, while a bare tree silhouette, enhanced by projections, shifts us through different seasons and times of day. This is definitely a performance-focused piece, and Bailey Sprecak gives Danny an endearing awkwardness. Portraying a slightly dweeby, imaginative 14-year-old who idolises his older brother, he brings a warmth and innocence to the role at first. But when Danny is confronted with the reality of death for the first time, there is a noticeable and unsettling character shift. His innocence fractures, leading to a gradual spiral into confusion, anger, and a desperate attempt to make sense of loss. The relationship between Danny and Frank, played by Liam McMahon, is beautifully realised. Their dynamic is playful and supportive, with a natural sense of brotherly connection that makes Frank’s absence loom large over everything that follows. McMahon reappears as Andy, an American pilot who takes on the role of a surrogate brother figure. The parents provide a realistic emotional anchor. Brent Dunner plays the quintessential gruff Aussie dad. Shaped by his own experiences and injuries from WWI, he quietly carries trauma while trying to keep busy with constant renovations on the Queenslander family home. Lisa Hickey delivers some of the most heartbreaking moments of the piece. Her motherly grief manifests in denial and dissociation, clinging to the idea that her son is still alive. It’s uncomfortable, raw, and deeply affecting to watch. Hannah Sisson brings a gentle warmth to Rose, offering moments of calm amidst the chaos unfolding around the family. Her relationship with Danny carries an added complexity, as his closeness to her becomes entangled with his longing to take his brother’s place. Aimee Duroux as Patty is the standout performer for me. She adds a completely different energy as Danny’s ever-present and exasperating friend. Wearing a leg brace and constantly on the receiving end of cruel labels, Patty has built a tough exterior, armed with biting humour and brash language as a defence mechanism. Her sharp tongue and fiery presence bring both levity and edge, particularly in the way she pushes back against how she’s perceived by others, while still revealing glimpses of vulnerability beneath. The remaining actors shift between roles such as brash American soldiers, wary locals, schoolyard bullies, and historical figures, showing strong versatility across the ensemble. Jay Koloi’s voice work in the newsreel montage is a standout moment, with impressive vocal control and characterisation. Jack Winrow’s dry humour is particularly notable as he takes on multiple roles including Winston Churchill and General Monash. He and Mike Escober both stand out for their ease on stage, bringing a natural, assure quality to each moment. Natasha McDonald is particularly notable as the leader of the cricket boy bullies. One of the more interesting threads throughout the show is the tension between Australians and the arriving American troops. The contrast is often played for laughs, especially in the exaggerated reactions of Brisbane women swooning over the “Yankies”, while local men bristle with resentment. Beneath that humour, however, is a genuine exploration of cultural friction and shifting social dynamics. As Danny’s journey continues, the story takes a darker turn. His attempts to step into his brother’s place, to support his mother’s delusions, and to connect with an American soldier who physically resembles Frank all build toward an identity crisis. The escalation into impulsive anger and violence is intentionally jarring. The production also leans into its setting in subtle yet effective ways. There are nods to Brisbane’s history and locations, including its reputation for danger in certain areas. Even the pre-show atmosphere contributes, with swing dancers performing in the courtyard in period costume before reappearing during the Cloudland scene (not the club in the Valley). The lighting design is also very effective, using colour and spotlights to clearly define and split scenes, while the sound design is abrupt in a way that deliberately jars the audience. Costumes and wigs feel authentically of the era, like they could have been pulled straight from 1942… aside from that questionable moustache (sorry Jack). At its core, this is a story about the ripple effects of war. Not just on the battlefield, but within families, communities, and young people forced to grow up too quickly. It explores masculinity across cultures, women’s roles during wartime, the tension between civilians and soldiers, and the emotional toll of sudden loss, both literal and psychological, and how that trauma manifests over time. While the performances are consistently strong, the script didn’t fully resonate with me on a personal level. At times, the narration and sound design become quite loud and frantic, making some lines difficult to catch, particularly in group sequences. It’s a small but noticeable barrier in an otherwise engaging production. That said, the cast’s commitment is undeniable, and there is plenty to appreciate here, particularly for audiences interested in Brisbane’s history and wartime storytelling. This is a thoughtful, locally grounded piece that blends humour and heartbreak, offering a perspective on WWII that is extremely close to home.

Title: Shrek The Musical JR Presented By: Stage School Australia Genre: Junior Musical Theatre Synopsis: Based on the Oscar-winning DreamWorks film and the hit Broadway musical, Shrek The Musical JR. follows the story of an unlikely hero who sets out to rescue the feisty Princess Fiona from a dragon-guarded tower. Along the way, Shrek is joined by the wisecracking Donkey and a colourful cast of fairy tale creatures banished by the villainous Lord Farquaad. Packed with catchy songs, memorable characters and plenty of laughs, this feel-good musical celebrates friendship, courage and embracing what makes us unique. Audition Date: Video submissions due: Friday 10 July 2026 In-person auditions (invitation only): Sunday 19 July 2026 Video callbacks (if required): Wednesday 22 July 2026 Audition Location and Address: Video submissions via email In-person auditions: Brisbane State High School (Gate M5), Ernest Street, South Bank Audition Self-Tape Due (if applicable): Friday 10 July 2026 Audition Requirements: Video Submission Open to performers aged 10–19 years. Prepare a 16-bar musical theatre excerpt from the provided audition selections. Use a general American accent. Ages 10–13: Select from the Young Voices material. Ages 14–19: Select the appropriate Teen Voices material for your vocal type. Upload your audition as an Unlisted YouTube video. Email Submission Must Include: Full name Date of birth Performing CV/experience Current Stage School class (if applicable) Height and clothing/shoe sizes Link to your YouTube audition video Selected applicants will attend an in-person vocal and movement audition. Audition Registration: Email submissions to casting@stageschool.com.au Audition Pack: Download from the Stage School Australia website. Performance Dates: 30 September – 3 October 2026 Performance Times: 30 September: 7:00pm 1 October: 11:00am & 2:30pm 2 October: 11:00am & 2:30pm 3 October: 11:00am, 2:30pm & 7:00pm Performance Location: The Draney Theatre, Marist College, 112 Glenlyon Drive, Ashgrove Rehearsal Dates: 2nd August - 30th September Rehearsal Times: See schedule for varying call times. Warnings: Full attendance at rehearsals and performances is compulsory. Selected cast will attend a photoshoot on 2 August. Video and audio recording may occur during auditions for internal casting purposes. Performers aged 10–13 will be double cast. Mandatory participation fee and ticket commitment apply. Performer Age: 10–19 years Production Website: https://stageschool.com.au/shows/shrek-jr-brisbane Other Information: Participation Fee: $250 Includes rehearsal expenses, insurance and cast t-shirt. Ticket Commitment: Each cast member must sell or purchase 20 tickets. Ticket prices: Matinees: $34 Evening/Weekend: $39 Rehearsals are designed to replicate a professional musical theatre experience. Available Roles/Character Breakdown: Shrek - A gruff but kind-hearted ogre who enjoys living alone in his swamp until his peaceful life is interrupted. His unexpected quest leads him to discover friendship, love and acceptance. Strong singer, actor and comedic performer. Princess Fiona - A feisty princess with a sharp wit and adventurous spirit. Far from a typical fairy tale princess, Fiona is brave, funny and capable of taking care of herself. Requires a confident triple-threat performer. Donkey - A fast-talking, endlessly optimistic companion who insists on becoming Shrek's best friend. Excellent comic timing, strong character acting and singing required. Lord Farquaad - The comically tyrannical ruler of Duloc who banishes fairy tale creatures from his kingdom. A big personality with excellent comedic acting and strong vocals. Dragon - A powerful dragon who guards Fiona's tower but has a romantic side when she meets Donkey. Strong singer with commanding stage presence. Pinocchio - Leader of the fairy tale creatures. A cheeky puppet whose nose grows whenever he lies. Energetic comedic role with strong vocals. Gingy - The spirited gingerbread man who refuses to be defeated despite Lord Farquaad's attempts to intimidate him. Puppetry role with lots of personality. Big Bad Wolf - A sassy, scene-stealing fairy tale character who joins the group of exiled creatures. Young Fiona - Appears as Fiona during childhood. Strong young singer and actor. Teen Fiona - The teenage version of Fiona. Continues Fiona's story before adulthood. Strong singer with emotional range. Storytellers 1, 2 & 3 - Guide the audience through the story while also doubling as other characters throughout the production. Strong performers with excellent storytelling ability. Fairy Tale Creatures Three Little Pigs Three Bears Three Blind Mice Peter Pan White Rabbit Fairy Godmother Wicked Witch Ugly Duckling Mad Hatter Humpty Dumpty Elf Dwarf Puss in Boots Pied Piper Ensemble Duloc Performers Guards Knights Angry Mob Woodland Creatures Rats

Title: Grease Presented By: Elements Theatre Co. Genre: Musical Theatre / Senior Production Program Synopsis: Elements Theatre Co. presents Grease as part of its 2026/27 Senior Production Program. Grease follows the students of Rydell High as they navigate friendship, romance, reputation and growing up in 1950s America. After a summer romance, Sandy and Danny unexpectedly reunite at school, only to discover that fitting in can be more complicated than falling in love. Audition Date: Registrations close Monday 13 July 2026. Auditions will be held during the first weeks of Term 3, 2026. Audition Location and Address: Elements Theatre Co. – Oxenford Studio 1A, 131–135 Old Pacific Highway, Oxenford QLD 4210 Audition Requirements: Auditions will be used to determine lead roles, featured roles, vocal solos and special performance opportunities. All registered participants will be cast in the production. Once registered and either paid in full or on an approved payment plan, participants will receive an audition pack with character information and preparation resources. Audition Registration: Register here Audition Pack: View the information pack Performance Dates: 19–21 March 2027 Performance Times: Friday 19 March: 6:00pm Saturday 20 March: 1:00pm & 6:00pm Sunday 21 March: 1:00pm Performance Location: Nerang Bicentennial Community Centre, 833 Southport Nerang Road, Nerang QLD 4211 Rehearsal Dates: Weekly rehearsals commence Wednesday 15 July 2026. Program runs 15 July 2026 – 24 March 2027. January Intensive: 20–24 January 2027 Tech Week: 16–18 March 2027 Rehearsal Times: Weekly Wednesdays: 7:00pm–9:00pm January Intensive: Wednesday 20 January: 5:00pm–9:00pm Thursday 21 January: 5:00pm–9:00pm Friday 22 January: 5:00pm–9:00pm Saturday 23 January: 10:00am–4:00pm Sunday 24 January: 10:00am–4:00pm Tech Week: Tuesday 16 March: 4:00pm–9:00pm Wednesday 17 March: 4:00pm–9:00pm Thursday 18 March: 4:00pm–9:00pm Rehearsal Location: Elements Theatre Co. – Oxenford Studio 1A, 131–135 Old Pacific Highway, Oxenford QLD 4210 Tech Week: Nerang Bicentennial Community Centre, 833 Southport Nerang Road, Nerang QLD 4211 Warnings: Grease contains themes, language and content reflective of its 1950s setting, including some mature references. Parent/guardian discretion is advised for younger performers. Performer Age: Ages 13+ to Adult. Participants must turn 13 before 19 March 2027. Creative Team: Director: Cassie Zorko Musical Director & Choreographer: Lauren Beatson Assistant Musical Director: Michelle Phair Production Website: Elements Theatre Co. Productions Other information: Registrations close Monday 13 July 2026, unless capacity is reached earlier. Every registered participant will be cast. Attendance is required for weekly rehearsals, January Intensive, Tech Week and all performances. Program fee: $1,260 upfront or $40 per week over 35 weeks, plus transaction fees. Fees include script, cast shirt, costume hire, weekly rehearsals, January Intensive, Tech Week, performance season, cast celebration and full educational musical theatre program. Complimentary Grease Kids Club available during rehearsals for cast members who are parents.

Title: Seussical the Musical Presented By: Phoenix Ensemble Genre: Musical Theatre Synopsis: Jojo, a small Who with a huge imagination, struggles to fit in until the Cat in the Hat guides him through a world where Horton the Elephant hears a tiny voice and creatures of all kinds discover loyalty, courage and friendship. Seussical celebrates imagination, individuality and the belief that even the smallest voice can make a difference. Audition Date: Friday 24 July 2026 - Saturday 25 July 2026 Audition Time: Friday from 7:00pm Saturday from 10:00am Dance call: Saturday 25 July, 12:30pm–1:30pm Group singing call: Saturday 25 July, 1:30pm–2:30pm Audition Location and Address: Friday: Queensland Show Choir, 480 Gregory Terrace, Bowen Hills Saturday: Beenleigh Neighbourhood Centre, 10-12 James St, Beenleigh Audition Self-Tape Due (if applicable): Video submissions accepted if unable to attend in person. Email auditions@phoenixensemble.com.au for requirements. Audition Requirements: All auditionees must complete an individual audition and attend the compulsory group dance and singing calls. Prepare: Two contrasting musical theatre songs in the style of the show, approx. 1 minute each Backing tracks One 1–2 minute monologue or excerpt that reflects the character you would like to play No songs from Seussical No acting material from The Cat in the Hat, Horton Hears a Who, The Grinch or Green Eggs and Ham Audition Registration: Book your audition Audition Pack: Download the Seussical Audition Pack Performance Dates: From Friday 6 November to 28 November 2026 Bump out: Sunday 29 November 2026 Performance Times: Friday & Saturday evenings Saturday matinees No Sunday performances Performance Location: Phoenix Ensemble / The Tin Shed, Beenleigh Showgrounds, James Street, Beenleigh Rehearsal Dates: Rehearsals commence Sunday 9 August 2026 Photoshoot: Sunday 9 August 2026, 9:00am–12:00pm Sitzprobe: Sunday 18 October 2026 Tech/final rehearsals commence Sunday 18 October 2026 Rehearsal Times: Mondays & Wednesdays: 7:00pm–10:00pm Sundays: 12:00pm–5:00pm Rehearsal Location: Phoenix Ensemble / The Tin Shed, Beenleigh Showgrounds, James Street, Beenleigh Performer Age: 18+ for all roles except Jojo Creative Team: Director: Kristen Barros Musical Director: Hayley Marsh Choreographer: Hannah Crowther Production Website: Phoenix Ensemble Auditions Other information: No roles are paid. This is not a youth production. All performers must be 18+ by the first rehearsal, excluding the actor playing Jojo. Callbacks, if required: Wednesday 29 July 2026 from 7:00pm Casting notification: Sunday 2 August 2026 Cast members must become Phoenix Ensemble financial members. Cast members must hold or be willing and able to obtain a valid Blue Card. Enquiries: auditions@phoenixensemble.com.au Available Roles/Character Breakdown: The Cat in the Hat (Any gender, baritone/mezzo) Mischievous, imaginative and comic. The host and emcee of the show, appearing in almost every scene and playing multiple comic roles. Strong singer with strong movement skills and comic ability. Jojo (Any gender, playing age 8–10, soprano) A young Who with a huge imagination. Awkward, inventive and constantly in trouble for thinking differently. Strong singer/actor. Horton the Elephant (Any gender, tenor/mezzo) Gentle, loyal and big-hearted. Believes in doing the right thing and protects the tiny world of Whoville. Strong singer/actor with good comic timing. Gertrude McFuzz (Any gender, soprano) Shy and self-conscious at first, but grows into a kind and caring protector. In love with Horton. Strong singer/actor with movement skills and comic timing. Mayzie La Bird (Any gender, mezzo-soprano) Vain, selfish and manipulative, but not entirely bad. Strong singer/actor with strong movement skills and comic ability. Mr & Mrs Mayor (Any gender, tenor & mezzo-soprano) Jojo’s parents, trying to raise him in a difficult world. Loving but often overwhelmed. Strong singers/actors. Featured Ensemble (Mixed genders and voice types) Includes characters such as Sour Kangaroo and General Schmitz. Requires confident singing, dancing and acting. Ensemble (Mixed genders and voice types) Includes roles such as the Bad Girls, Wickersham Brothers and the Grinch. Requires confident singing, dancing and acting.

Title: The Trail to Oregon! Presented By: Sunnybank Theatre Group Genre: Musical Comedy / Parody Synopsis: Inspired by the classic Oregon Trail video game, The Trail to Oregon! follows a wildly dysfunctional family heading west after accidentally burning down their old life. Along the way, they encounter bandit kings, animal chaos, illness, questionable choices and audience-driven mayhem. No two performances are exactly the same. Audition Date: Saturday 25 July 2026 Saturday 1 August 2026 Callbacks, if required: Tuesday 4 August 2026 Audition Time: Individual auditions: Saturday 25 July OR Saturday 1 August 10:00am–6:00pm Dance call: Saturday 25 July, 8:00am–9:00am OR Saturday 1 August, 7:00pm–8:00pm Callbacks: 7:00pm Audition Location and Address: Sunnybank Theatre Group, 14 Mains Road, Sunnybank Audition Self-Tape Due (if applicable): Contact trail@bekinddo.art if unable to attend in person. Audition Requirements: Prepare: Two song excerpts in the style of the show, at least one from musical theatre, under 1 minute each Backing tracks Cold read material provided 72 hours before audition Dance excerpt taught via the audition choreography video Audition Registration: Register for an audition Audition Pack: Download the audition pack Performance Dates: 4–21 November 2026 Performance Location: Sunnybank Theatre Group, 14 Mains Road, Sunnybank Rehearsal Dates: From Sunday 9 August 2026 Tech dates include Saturday 24 October and Saturday 31 October 2026 Rehearsal Times: Sundays: 2:00pm–8:00pm Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Rehearsal Location: Sunnybank Theatre Group, 14 Mains Road, Sunnybank Warnings: Adult themes, strong language including blasphemy, simulated violence and simulated nudity. Performer Age: 18+ Creative Team: Director: Tammy Sarah Linde Associate Director: Luke O'Hagan Musical Director: Rae Rose Choreographer: Anna Ryan Production Website: Sunnybank Theatre Group Auditions Other information: Cast and production volunteers must become financial members of Sunnybank Theatre Group. Membership: $30 for one year or $75 for three years. Enquiries: trail@bekinddo.art Available Roles/Character Breakdown: Father (Tenor) An optimistic man in catastrophic denial. Loves his family deeply but lacks basic competence. Requires strong comic timing, audience interaction and sincerity. Mother (Mezzo) The only competent person on the wagon. Sharp, funny and grounded, with grief beneath her motivation. A strong comedic foil with warmth and authority. Daughter (Mezzo) A teenager caught between naivety and self-awareness. Requires physical comedy, classic musical comedy and emotional range. Son (Soprano) Seven years old and chaotic. A horrible little gremlin with huge physical comedy, stamina and occasional sincerity. Grandpa (Baritone) An eccentric, absurd character with escalating gags played completely straight. A role for a strong clown/character actor. McDoon and Everyone Else (Baritone) The villain of the piece, plus multiple ensemble roles. Requires strong comedy, transformation and theatrical versatility.

Production: Gutenberg! The Musical! Book, Music and Lyrics: Anthony King and Scott Brown Produced by: Second Beat Productions and PIP Theatre Directors: Liam J.K and Daniel Kirkby Musical Director: Rae Rose Chief Designers: Liam J.K and Brigitte Bennet Lighting: Noah Milne “What’s the difference between a wine press and a printing press? One makes you drink. The other makes you think.” I am not entirely sure that Gutenberg! The Musical! taught me anything reliable about Johann Gutenberg, medieval Germany, or the invention of the printing press. I did, however, leave with a comprehensive understanding of musical theatre clichés! Produced by Second Beat Productions and PIP Theatre, this Brisbane staging is directed by Liam J.K and Daniel Kirkby, with musical direction by Rae Rose. J.K takes on Bud alongside Kirkby as Doug, with Rose appearing as their pianist, Charlie. William Kasper also appears as Bud at alternate performances. Written by the hilarious creators of Beetlejuice, Anthony King and Scott Brown, Gutenberg! The Musical! is a musical spoof about Bud and Doug, two aspiring writers pitching their epic historical musical to a room full of potential backers. Their show tells the story of Johann Gutenberg, the inventor of the printing press, as he attempts to bring literacy to the miserable medieval town of Schlimmer (which is German for “worse”). Standing in his way is an evil monk who fears that reading will weaken his control over the townsfolk and reveal his fibs about what the Bible says. Since this is just a workshop, Bud and Doug cannot afford a complete cast, costumes, sets, orchestra, or anything else necessary for staging a Broadway musical. So, they play every character themselves, using baseball caps with names like “Helvetica,” "Rat," and “Drunk” to switch roles. It's a remarkably efficient system. Hat on: new character. Hat off: writer explaining the previous or upcoming scene to us as though we are five years old. The humour is knowingly non-PC, and some of the funniest bits come from exposing the formulas in so-called “original” musicals. I think the best way to see Gutenberg! The Musical! is to know as little as possible and let Bud and Doug explain it to you in real time. They desperately want to! The show breaks the fourth wall immediately, pausing to define theatre lingo, justify their creative choices, and clarify symbolism that requires no explanation whatsoever. They might not be accomplished historians, but they sure are dedicated teachers. We are asked to imagine Schlimmer, a medieval German town where nobody can read or write. We meet the entire population during the opening number, which is an impressive feat since it’s just two people running around swapping hats. The town is populated by familiar theatre characters: the illiterate love interest Helvetica (yes, like the font), a villainous religious figure, assorted peasants (including a Nazi flower girl), and Gutenberg himself, who speaks with an all-American bravado. Liam J.K brings strong Josh Gad qualities to Bud, which makes sense considering Gad originated the role. There's that same mix of strong vocals, genuine emotion, and lovable awkwardness. Every character they play is treated with maximum importance. Monk is particularly memorable, stalking through “Haunted German Wood” before launching into the magnificently overwrought “Stop the Press.” As Monk, J.K sounds like a hillbilly preacher (with a pet cat named Satan). Other characters drift through Cockney, German, and American dialects. Normally, inconsistent accents are one of my pet peeves. But here, they are so blatant and shamelessly embraced that they become one of the funniest parts of the show for me. Daniel Kirkby (as Doug playing Gutenberg) has the smirk of a leading man who knows he's already won over the audience. He also receives the coveted eleven o’clock number, introduced with the explanation that old Broadway shows are very long and very boring, so they need a song near the end to wake everybody up. Bud and Doug poke fun at the obsession with adaptations. Before diving into Gutenberg!, they tried their hand at a Phantom prequel and even a musical about every Stephen King novel. Neither took off because audiences apparently only want books, movies, and history adaptations - preferably with one famous person’s name repeated often enough that nobody forgets who the musical is about. Hamilton... But underneath the parody, there's something surprisingly sweet about Bud and Doug. They're just a couple of dorks who adore musicals, are passionate about their ridiculous creation, and clearly love working together. Their friendship deepens as they share secrets, admit doubts, and face the reality that their masterpiece might not receive the future they dreamed of. Despite the deliberately dubious musical within the musical, the tunes are way better than what you’d expect Bud and Doug to pull off. Every musical theatre convention gets its turn: the “I want” song, the town gossip number, the seductive villain jam, the nightmare sequence, the compulsory tap number and kickline, the traumatic death, and the inexplicable inclusion of suicidal ideation. “Tomorrow Is Tonight” comes with instructions to imagine lasers, an electric drum kit, a gospel choir, and fog. “The Press Song” has a joyous boogie-woogie groove, while “Biscuits” is the pointless upbeat 'charm song' thrown in to give the audience a break from what they really care about and provide an opportunity for a celebrity cameo. They joke, “If we could get Rob Mills, we’d never close!” - a line that lands with spectacularly unfortunate timing (Sorry Waitress!) Rae Rose is the musical engine behind the spectacle, sustaining its frantic pace from the piano and moving confidently between musical styles. J.K and Kirkby direct with a keen sense of pace and clarity, propelling the show forward as they change characters, reinterpret history, and build an entire soundscape. This is not a production for history purists. Anyone hoping for a responsible account of Gutenberg’s life, fifteenth-century Europe or movable type should probably visit a museum. The show announces its historical liberties early and gallops away from accuracy without looking back. Our audience, however, was practically giddy as J.K and Kirkby used physical comedy, shifting accents, imaginary scenery and props, corny puns and a pretend revolve to bring the enormous musical inside Bud and Doug’s heads to life. Brisbane is lucky to receive such a quality production of this rarely-staged musical. With three excellent performers, tons of hats, and almost no reliable history, Gutenberg! makes a very strong case for giving these two loveable dorks their Broadway contract.

Sister Act Presented by Savoyards Director: Andrew Cockroft-Penman Cultural Consultant: Matthew McKenzie Musical Director: Sally Faint Choreographer: Natalie Lennox Lighting: Gabrielle Burton Sound: Ethan Houley/David Sowdon Costume Design: Kim Heslewood Wig, Hair and Makeup: Lynne Swain Photography: Sharyn Hall “You mean I gotta go incog-negro?” Sister Act is like that one friend who shows up to a low-key dinner party with a karaoke machine. Inspired by the beloved film, it tells the tale of disco diva Deloris Van Cartier, whose life takes a wild detour when she witnesses a murder and is placed in witness protection at a convent. Suddenly, she's a nun in disguise, navigating a world of strict rules, routines, and a no-nonsense Mother Superior. But when Deloris gets her hands on the struggling choir, she does more than just change their tune. Rudo Banya steps into Deloris Van Cartier like the spotlight has been personally waiting for her. She has the sass, glamour, and quick-fire reactions the role needs, along with a wonderfully funky voice that sits right in the groove of the disco-driven score. Her Deloris knows exactly how to hold a room, whether she is chasing fame, dodging danger, or trying to survive convent life without completely losing patience. As the show goes on, Banya lets Deloris soften without losing her sparkle, which makes her bond with the sisters feel earned, not just inevitable. As Mother Superior, Beth Lowe is one of the production’s great pleasures. She runs on dry humour, restraint, and the permanent expression of a woman that is one more tone-deaf hymn away from snapping. Lowe never has to push too hard for laughs; so much of the comedy comes from watching her try to remain holy while Deloris causes spiritual and musical mayhem around her. “I Haven’t Got a Prayer” is one of the strongest numbers for me. In a score full of big group numbers, this quieter solo cuts through because of Lowe’s control, clarity, and beautifully measured frustration. Wednesday Reign is lovely as Sister Mary Roberts, giving her that gentle, soulful quality of a wallflower used to shrinking into the background. When she finds her voice in “The Life I Never Led,” it is like watching a caterpillar transform into a butterfly. It is a beautiful turning point, and Reign gives it sincerity, stillness, and a voice that immediately stands apart. It is hard to describe without reaching for the usual reviewer clichés, but there is something truly unique about her sound; you want the whole convent to stop and listen. Emma Brack attacks Sister Mary Patrick with the terrifying optimism of someone who has never once considered being chill. She leads “It’s Good to Be a Nun” with absolute conviction. The number is tight, well-rehearsed, and full of character from all the sisters. Helen Beauchamp and Constanza Acevedo Burckhardt also make the most of their featured moments, and across the ensemble, the nuns each have their own little pockets of personality. By the time Beauchamp is roller skating, cheerfulness has officially exceeded convent speed limits. That is one of the joys of this show: it gives so many women room to be more than background figures. Every time the sixteen nuns shuffled on, I found myself scanning the group to see who was doing what. Watching them evolve from heartfelt but hopeless choir to glittery disco divas is great fun. “Raise Your Voice” captures that charming stage where confidence precedes before perfection, and the sparkly wimples are the kind of whimsical, fabulous design choice I expect from this show. Lachie Gleadhill delivers a highly natural performance as 'Sweaty' Eddie, complete with an authentic Philly cop accent. He finds the sweet spot between nervous, hopeful, and painfully uncool. “I Could Be That Guy” is especially fun because Gleadhill starts with an intentionally lacklustre vocal delivery, then lets the number burst into a vibrant disco fantasy where his actual voice gets to shine. It shows us exactly who Eddie wishes he could be, helped along by groovy ensemble choreography and a great lift from the orchestra percussion. Warryn James shines as Monsignor O’Hara, balancing church respectability with just enough theatrical flair. He captures the church’s growing excitement as the choir moves from humble parish ensemble to accidental religious girl group. Lonnie Toia nails the gang boss presence for Curtis, rocking the perfect look and voice like he was born for the role. He keeps the threat of the story present while still fitting into the musical’s comic world. “When I Find My Baby” is a fun villain number, especially with his three minions backing him up in perfect harmony. William Chen is a standout among the trio as TJ, bringing big comic commitment and strong dance ability. Together with Joshua Langdon as Joey and Montil Djumapili as Pablo, they turn “Lady in the Long Black Dress” into a super fun disco break, packed with falsetto, swagger, and some unserious romantic strategies. The band, led by Musical Director Sally Faint, does excellent work with Alan Menken’s score, giving it the rhythm, groove and disco pulse it needs. The cast has strong solo and featured vocal moments, especially from Banya, Lowe, Reign and Gleadhill. Some of the larger group vocals could still tighten in blend, particularly when harmonies sit underneath movement or dialogue, but you can feel the cast throwing themselves into the score. If there was one area that needed a little more heavenly intervention on opening night, it was sound. The eternal battle! And to be fair, this is a nightmare of a show to mix, with what appears to be every single person wearing a mic. Natalie Lennox’s choreography has a lot of fun with the show’s disco world, pulling from Motown, funk, girl-group, gospel performance style, and a few hip hop touches in the nun choir version of “Take Me to Heaven.” The cast handles a lot of movement across the night, and the nuns in particular have impressive stamina. “Sunday Morning Fever” has strong drive and staging, although some of the dialogue underneath is difficult to catch. Visually, the production has some striking moments. The set design by Savoyards Team and scenic design by Kaitlin Hague, with stained glass windows, bar setup, fringe glitter curtains, neon signage, neon cross, and disco ball, all help build the contrast between sacred space and showbiz excess. Gabrielle Burton’s lighting adds plenty of colour or heavenly spotlights. Kim Heslewood’s costumes and Lynne Swain’s wig, hair, and makeup design do a huge amount of work in selling the 1970s world full of sequins, afros, sparkly boots, and even sparkly wimples. There are endless wigs in this production — truly, an entire spiritual journey in synthetic hair! Director Andrew Cockroft-Penman leans into the fun of that clash: disco confidence crashing into convent discipline, nightclub sparkle meeting Catholic restraint, and Deloris landing in a place where “blend in” is very much not her natural setting. The pace is snappy, and the big scenes are busy without tipping into chaos. Except for the convent chase scene, of course, which is a comedic whirlwind of staged mayhem. Having Matthew McKenzie credited as Cultural Consultant adds value, given the story is set in 1970s Philadelphia and brings together Black disco culture, Catholic settings, and the social dynamics of Deloris suddenly disappearing into convent life. In the end, Sister Act is about sisterhood, community, courage, and the terrifying but wonderful act of stepping forward and letting yourself be heard. Savoyards’ production has plenty of sparkle, plenty of heart, and enough nuns in glittering headwear to make even the most reluctant churchgoer consider joining the choir.