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Beauty and the Beast: The Broadway Musical Brisbane Musical Theatre Director : Jesse Bradford Musical Director:  Mark Beilby Choreographer:  Ava Moschetti Lighting Design:  Spencer Mitchell Costume Design : Geena Lukin & Andrea Halter Photography : Artist Focused Brisbane Musical Theatre wrapped up their season of Beauty and the Beast with a packed final performance, after the earlier show I was supposed to attend was unexpectedly cancelled due to a power outage (thanks, Brisbane weather!). The closing night turnout was massive, with a crowd so warm and supportive, it could have melted even the Beast’s heart. Everyone was eager to finally catch this beloved Disney classic and cheer the cast across the finish line! From the moment the overture began, it was clear this production was reaching wholeheartedly for fairytale magic. The projected backdrops were a thing of beauty, clearly establishing the village, castle, woods, and tavern with storybook charm. The opening sequence featuring the Enchantress and the Prince was particularly effective, using costume, fog, narration, and lighting to create a strong sense of atmosphere that pulled the audience into the story right away. The opening number, “Belle,” seemed a bit overwhelmed by its own enthusiasm. With a very full stage, a few missed lines/early microphone hiccups, the scene seemed quite hectic, but undeniably bustling! The little village set pieces were a thoughtful inclusion, but with such a large ensemble, the cast seemed like they were trying to squeeze one more shopping trolley down an already crowded grocery store aisle. Musically, the show was in excellent hands under Musical Director Mark Beilby, whose orchestra delivered a polished and superb performance. The iconic sweeping score was handled beautifully, and the ensemble vocals in the large group numbers were consistently strong — something Brisbane Musical Theatre does particularly well. A standout of the evening was Reagan Warner  as Gaston, who entered to immediate cheers and clearly knew how to command the stage. His voice acting, physicality, and commitment to character were spot on. His bravado-filled solo “ Me ” was staged with playful flair, allowing his rich tone to shine. “ Gaston ” was a riot: full vocal power, coupled choreography, and clever use of tankards and props. While “ The Mob Song ” carried real urgency and menace (his eyebrows doing some very heavy lifting indeed!). And though the “ Gaston Reprise ” between Reagan and Alex Sturdee  had great energy and character interplay, the harmonies were not present. Nonetheless, Reagan looked like he was having an absolute blast playing the villain. Dan Pohlman’s was a roaring success as the Beast. He used gruff vocals, heavy movement, and growls to establish presence, with the elevated staircase staging cleverly enhancing his authority. Vocally, Dan was excellent; “ If I Can’t Love Her ” was beautifully sung and well-staged and lit. As the character softened, his awkward, dorky charm emerged, making the Beast’s transformation feel genuine by the end. The final fight with Gaston was intense and impressively committed — including Dan yeeting himself down the stairs like he was in an action movie! Leah Harford was lovely as Belle, showing off some impressive vocal power and a consistently strong belt. Her performance of “ Belle Reprise ” had that classic American princess style, while “A Change in Me ” highlighted her contemporary musical theatre strengths. Dramatically, Belle’s emotional journey felt a bit surface-level. Numbers such as “Home”  lacked authenticity and emotional shaping, which felt more like a blocking or directorial matter than a lack of effort from Harford herself. The enchanted household characters brought warmth and humour in abundance. Jose De Andrade leaned fully into theatrical melodrama of Cogsworth, while Michael Chazikantis  was a wonderful highlight as the funny, sincere, and flirty Lumière with an excellent French accent, comic timing and an easy rapport with his fellow cast members. Together, their performances balanced charm and heart beautifully, grounding the humour without tipping into caricature. Annie Sutherland’ s Babette matched them well with her confident accent and playful characterisation. Lauren Bull played the sassy wardrobe Madame with her beautiful operatic tone, while Melissa Beilby’s  Mrs Potts offered warmth and sincerity, particularly in “ Beauty and the Beast .” Chip — a shared role between Olivia Cowdrey and Ashton Nowers  — earned plenty of well-deserved “awws” from the audience. Alex Sturdee’s  Le Fou made hilariously unsettling expressions that, on reflection, felt absolutely spot-on for the goofy character. The Silly Girls ( Elloise O’Connell, Emma Johnstone, and Tobey Ogilvie ) lived up to their name — perky, intense, and delightfully unhinged — they injected bursts of energy whenever they appeared. As Maurice, Barry Haworth  was sweet and kooky, though his delivery sometimes lacked genuine urgency. “ No Matter What ” would have benefited from emotional shaping to give the moment more weight and some movement to give audience a better view of both characters. Choreography by Ava Moschetti  was ambitious for the size of the stage and the cast! “ Be Our Guest”  delivered excellent ensemble vocals and high energy, though spacing around the large staircase set piece was tight. The featured dancers impressed with fouettés and tap moments, even if the costumes lacked that essential visual dazzle for me. “ Human Again”  was vocally gorgeous, though movement was minimal again. The wolf stage combat was a howling success, with choreography that packed a punch. “ Beauty and the Beast ( Tale as Old as Tim e)” was sweet like a sugar-coated donut. Director Jesse Bradford  clearly leaned into family-friendly fun, and many scenes looked like an absolute joy to perform. The castle set was a standout, particularly the clever transformation of the West Wing into the library. The wilting rose was a lovely effect. While most leads entered and exited fully in character, the ensemble at times appeared to be searching for their marks. The makeshift wings were clearly a circus side stage — so maybe letting characters come in through the aisles or downstage entrances could have helped ease congestion. Shoutout to the crew for handling those frequent scene changes! It did cause the runtime to feel long, with some moments dragging as a result, but they clearly did their best. Some spoken dialogue also felt a bit bland, which is understandable in a story audiences have known for over 30 years, and likely far more exciting for the younger audience members who are very much the target demographic. Speaking of, when it comes to kids the lack of tiered seating can affect sightlines, but they worked well for me except during the final "death" scene. Costume design by Geena Lukin and Andrea Halter  shone most clearly in the furniture character costumes. The Beast, Gaston, Le Fou, Lumière, Cogsworth, Madame, Mrs Potts, and Chip were all thoughtfully designed and well suited for movement. Belle’s blue-and-white village dress and later pink and yellow ballgowns were less effective, with fit and styling choices that didn’t quite serve the character as well as they could have. Lighting design by Spencer Mitchell  was effective overall, contributing strongly to the show’s atmosphere. I did find the extended strobe effects during the transformation quite intense, and audience members seated close to the speakers (myself included) may have found the volume overwhelming at times. Despite this, I thoroughly enjoyed the commitment and energy of the wonderful cast, who maintained strong momentum through to the final bow, with the show met by generous applause from the audience. Beauty and the Beast  is a demanding musical — vocally, technically, and logistically — and Brisbane Musical Theatre approached it with clear affection. With several standout performances and moments of theatrical excitement, this production continues BMT’s commitment to delivering accessible, family-friendly musical theatre for Brisbane audiences.

Shrek the Musical Communication in Action Talbot Theatre, Thomas Dixon Centre Directed: Tim Hill Music Director: Jacqui Devereux Choreography: Justin Anderson  Photography: By Brit Creative Walking into a completely full Talbot Theatre is always a promising sign, and Shrek the Musical wasted no time proving why every seat was taken! The show leaned fully into what makes Shrek so much fun: outrageous characters, bold humour, and joyful theatrical silliness. The musical honours the film while giving the comedy a fresh stage twist, with plenty of jokes that flew straight over the kids’ heads and landed squarely with the adults.   Henry Marsh as Shrek brought warmth, humour, and a very solid accent to the role. Vocally, he handled the demands of the score with confidence, as did the other boys across the cast. “Who I’d Be” was a lovely, sincere solo that showed the gentler side of the character. I would have loved to see Shrek lean even further into that fed-up frustration at times, but overall his performance of this tremendous role was incredible. Hamish Treweeke as Donkey was an absolute highlight. Donkey has to be a speedy talker, crystal clear, and relentlessly energetic, and Hamish delivered all of that with sass to spare. He was a walking encyclopaedia of pop culture references, a constant ball of energy, and absolutely nailed “Don’t Let Me Go,” cementing the Shrek-and-Donkey dynamic as the strongest duo on stage.   Murphy O’Connor as Princess Fiona was a complete standout. She played Fiona as the glorious crackpot she is, with bold physicality, dramatic gestures, and excellent comic timing. Vocally, Murphy was fantastic, switching effortlessly from a bright musical theatre belt to a sweet, delicate classical tone. (“ the waiting! !!!!” moment was chef’s kiss.) “I Know It’s Today,” shared with Aria McGregor (Young Fiona) and Dottie Reisener (Teen Fiona), was beautifully layered, confident, with harmonies that blended seamlessly. Archer Grounds’ Lord Farquaad was iconic, from the sparkly outfit and sassy attitude to the impressive knee-sprinting across that enormous stage (no small feat... pun fully intended). Henry Woodwar d as Thelonius added to the laughs and was the perfect sidekick in Farquaad's scenes. Ella Reynolds as Gingy was a joy. I loved that she didn’t lean into the overly squeaky voice we so often hear. Her natural voice was divine and gave the character warmth and sympathy. Ariella Meehan ’s Pinocchio was full of personality, and the nose effect was a very fun visual gag for the audience! Alessia Lily Monteverde as Dragon brought serious funky energy to “Donkey Pot Pie,” complete with spotlights, a killer outfit, and strong support from the Knights. Without the option of a giant dragon puppet, the moment relied entirely on Alessia, and she delivered vocally in a big way! I would have loved to see that sass shared with the audience a little more (face us more cause we want to see you!), as the blocking had her chasing Donkey all over the stage in her stilettos. “Story of My Life” was a delightful explosion of fairytale chaos, with an absurd number of characters filling the stage! It was cleverly cast to spread featured moments among the more senior performers. The fairytale creatures truly shone in “Freak Flag,” which completely blew me away. The commitment to character was fantastic, the choreography was high-energy, and the whole number felt joyfully unhinged. Standouts included Bella Pietrobon ’s Wicked Witch, Saana Chang ’s Ugly Duckling, Neil Marco Il Aballe ’s Big Bad Wolf, and Stephanie Dortolina-George as Mama Bear. Visually, this production was stunning. The massive digital backdrop looked like storybook paintings brought to life, and the lighting on this stage was, as always, fabulous. The designer made excellent use of patterned lights to add texture without overwhelming the action. I also loved how the audience walkway was used during the travel sequences, giving the staging scale and helping the world feel bigger than the stage. “Welcome to Duloc” was a fun ensemble moment, full of bright energy and costumes. I would have loved to see even more plastered grins and crisper articulation to really lean into that aggressively cheerful dystopia. “Morning Person” was a crowd-pleaser, with strong choreography, though I couldn’t help wishing the tap sections had been performed in actual tap shoes. Let those rhythms sing! “I Think I Got You Beat” was a standout musical moment between Fiona and Shrek, with great chemistry and comic timing. Donkey observing from further upstage meant some of his reactions were lost, and I think perching him closer to the stage edge would make that moment even stronger. The ensemble as a whole was a real strength of this production. Their commitment, energy, and character work lifted every scene. Bonus points as well for the Princess Bride reference at the wedding, which absolutely tickled me. Under the direction of Tim Hill , with choreography by Justin Anderson and music direction by Jacqui Devereux , Shrek the Musical was fun, fast-moving, and full of heart. It embraced the ridiculous, celebrated its performers, and left the audience smiling.

After years of teaching these songs in lesson rooms, I realised that this was actually my first time seeing Matilda  staged! The Dance and Theatre Factory’ s Matilda the Musical Jr  was a high-energy holiday production that celebrated young performers and their love of storytelling. While the one-act format doesn’t offer the full score, it keeps the pacing tight and the audience engaged.   Based on Roald Dahl’s beloved story, Matilda  follows an extraordinary young girl with a sharp mind as she navigates cruel parents, a terrifying headmistress, and discovers her own inner power along the way. From the moment the cast entered through the aisles for Miracle , the show became immersive and playful. The backdrop visuals were vibrant, the costumes were standout, and the coloured blocks — doubling as school seats and ever-shifting set pieces — were constantly rearranged by the cast, keeping the stage picture lively.   Matilda  is not an easy show to wrangle. The lyrics are dense, the rhythms are relentless, and the timing has to be spot on (thanks, Tim Minchin). Naughty  alone is a musical workout, but Lyla McLaren handled it with confidence and commitment. Under the direction of Lyn Pelgrave, with music direction by Robert Clark and choreography by Maddi Hatzioannou , the show moved confidently along. Colourful lighting from Bryce Delayney and clear sound from Murray Keidge supported the storytelling across the full cast performing to tracks. The show was packed with fabulous little performers, all leaning into bold characterisation and consistent British accents. Lyla McLaren’s performance of Quiet  (one of the hardest and BEST songs in the show) was a standout moment, with the ensemble frozen behind her and an echo effect on her mic creating the sense of isolation and mounting frustration.   Emily Carrick played Miss Honey with warmth, sweetness, and clarity. Her solo This Little Girl rang beautifully through the auditorium with a pretty, controlled tone, and her gentle presence felt entirely authentic. I could absolutely see her as a real teacher one day. Mila Price was gloriously nasty as Miss Trunchbull, stomping through scenes with a booming authority, yet singing with a classical vocal tone that suited the role perfectly. Her numbers, The Hammer  and Smell of Rebellion stood out for its staging, with push-ups and sit-ups woven into disciplined, high-energy choreography. Vincent Taylor and Matilda Bradshaw embraced the absurdity of the Wormwoods with their hilariously sharp character choices. Jake Allen brought real confidence and bite to Bruce Bogtrotter, particularly in his solo moments during Revolting Children, where he lead with confidence and attitude. In Bruce  — the infamous chocolate cake scene — the ensemble exploded with energy, delivering one of the most high-octane moments of the show, driven by fierce vocals, big reactions, and a cast clearly having the time of their lives! At times, some leads stood a little too rigid; I would suggest greater use of physical resistance and defiance. When I Grow Up  brought a gentler pause to the action, with strong soloists, pleasing harmonies, and a sweetness that landed particularly with the adults in the room. The ensemble worked incredibly hard in a very full space and handled it admirably. School Song featured imaginative choreography and bold “big kid” acting, including two performers forming alphabet letters with their bodies. The ensemble’s commitment consistently paid off when dramatic choices were pushed and showcased. While I won’t list every featured role and ensemble member here, the collective energy onstage was epic throughout! The company’s inclusive casting felt thoughtful and purposeful, with performers of all abilities meaningfully involved beyond the lead roles. Overall, Matilda the Musical Jr  was a colourful, energetic, and joyful production that celebrated imagination, resilience, and young performers finding their voices. A fabulous holiday show and a clear testament to the talent and heart this company continues to nurture.

The Little Mermaid Jr - Valmy Academy, Camp Neverland Holiday Program Valmy Academy’s holiday production of The Little Mermaid Jr  was a bright, bubbly reminder of just how much young performers can achieve when they’re given trust, encouragement, and a tsunami of creative fun! Presented as part of Camp Neverland, this wasn’t just a show... Across one intensive week, performers aged 7–17 rehearse and perform a youth musical (alongside excursions and activities!) It requires focus, flexibility, teamwork, and stamina; and that effort was absolutely visible on stage. This junior adaptation, based on Disney’s beloved The Little Mermaid  film and the 2008 Broadway musical, was guided with care by Clara Hutton (Director and Choreographer), Eli Ball (Music Director), and Maureen Bowra (Assistant Director), under the leadership of Lee Valmy , whose program continues to nurture young performers in a supportive and confidence-building environment. Staged at the Hope Centre (my first time there and my first Valmy Academy show!) complete with full seating on the floor and tiered sections, air conditioning (bless), dazzling lights, a raised stage, and screens... the show burst with colour to create a party under the sea! Georgina Bell led the cast as Ariel, delivering Part of Your World  with a strong, clear pop vocal and a confident American accent. She captured Ariel’s curiosity and longing beautifully and carried the role with ease. As Prince Eric, Josh Starnes brought warmth and sincerity, particularly in One Step Closer , where his stunning pop-style vocals had a very contemporary feel (very much giving “young Bieber” talent, in a good way!) Blayde Holmes was a standout Sebastian, oozing charisma and showmanship with a natural dancer’s presence and strong stage instincts well beyond a junior level. Willow Massingham’s Flounder was utterly adorable, earnest, sweet, and vocally strong, winning over the audience every time she appeared. The six mermaid sisters absolutely nailed She’s in Love , which emerged as a standout number of the show, a polished combination of vocals and choreography that burst with youthful excitement. Aurora Messer leaned all the way into the chaotic joy of Scuttle, delivering excitable physicality in Human Stuff  and keeping the energy sky-high whenever she hit the stage. Charlotte Birmingham’s Chef Louis was, quite frankly, hilarious, with Les Poissons landing as one of the biggest laughs of the show. Samantha Loomans’ Ursula absolutely slayed, with bold stage presence, striking lighting, fierce makeup, and a deliciously villainous accent. Poor Unfortunate Souls  was a major highlight, packed with confident opt-ups and full theatrical commitment. Jorja Mugford and Polly-Jean Nemetala added loads of personality as the slithery Flotsam and Jetsam, complete with eel-inspired looks (giving Taylor Swift’s Reputation  era). Jasmine Denman’s King Triton anchored the underwater world with authority and heart. Visually, the production sparkled! The mermaid costumes were pretty and glittering, the colour palette was vibrant and fun, and Sebastian’s makeup was particularly awesome. Working with music tracks can be a bit tricky, and there were a few moments where timing and pitch wobbled, but the cast handled it like pros. Kiss the Girl could have borrowed some of the collective razzle-dazzle energy in Under the Sea, but the vocals were still a treat for my ears. What shone brightest was just how much this production looked like FUN. The joy, pride, and collaboration onstage were unmistakable, and that’s something you can’t fake. The Little Mermaid Jr  was a joyful, energetic celebration of youth theatre, and a lovely reminder that when young artists are supported, challenged, and encouraged, the results can be absolutely fin-tastic!

Title:   A lice in Wonderland Presented By:  Village Green Theatre Group Genre:  Family Theatre / Adventure / Musical Adaptation Synopsis: Step through the keyhole into a magical world filled with curious characters, eccentric tea parties, and whimsical adventures in this theatrical adaptation of Alice in Wonderland . Join Alice as she navigates Wonderland’s colourful cast - from the Cheshire Cat to the Queen of Hearts - in a playful and imaginative journey for all ages. Audition Date:  February 15th, 2026  Audition Time:   12PM – Ensemble 2 PM – Leads & Supporting  Audition Location and Address:  Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Audition Requirements: Register online via the “Book an Audition” link on the VGTG auditions page. Prepare to read from provided scenes and participate in movement/ensemble auditions as needed (details in the audition pack) . Check the downloadable Audition Pack for character sides and preparation materials. Audition Registration: Book your audition here Audition Pack: Alice in Wonderland Audition Pack Performance Dates: 3rd - 11th July, 2026 Performance Times: Friday & Saturday evenings 7PM Saturday matinees 2PM Performance Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Rehearsal Dates and Times: Wednesdays & Thursdays - 7PM – 9PM Sundays - 1PM – 5:PM Rehearsal Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Warnings: General community theatre production suitable for family audiences. Production Website: Village Green Theatre Group - Alice in Wonderland Other information: Call‑backs are scheduled for 19 February 2026 from 7:00 PM for selected auditionees. Village Green Theatre Group is a community theatre with productions typically staged in Logan/Logan Village area - join their mailing list for updates on auditions, classes, and shows. Available Roles/Character Breakdown: Alice - Female, 14+, mezzo-soprano, lead role Cheshire Cat - Any gender, 14+, mezzo/tenor range, lead role Mock Turtle - Any gender, 14+, mezzo/tenor range, lead role Caterpillar - Any gender, 14+, mezzo/tenor range, lead role Queen of Hearts - Any gender, 14+, mezzo/tenor range, lead role White Rabbit - Any gender, 14+, lead role Mad Hatter - Any gender, 14+, alto/baritone range, lead role March Hare - Any gender, 14+, lead role Doormouse - Any gender, 14+, lead role Tweedle Dee & Tweedle Dum - Any gender, 14+, lead role Jack/Knave of Hearts - Male, 14+, supporting role King of Hearts - Male, 14+, supporting role Dodo - Any gender, 14+, supporting role Two, Five & Seven of Hearts - Any gender, 12+, supporting role Loreena/Mother - Female, 12+, ensemble Cards Ensemble - Any gender, 10+ Flowers Ensemble - Any gender, 10+ Characters Ensemble - Any gender 10+

Title:  Murder on the Nile Presented By:  Sunnybank Theatre Group Genre:  Murder Mystery / Thriller / Stage Play Synopsis: Agatha Christie’s classic mystery unfolds aboard a honeymoon cruise down the Nile where heiress Kay Ridgeway’s idyllic voyage turns deadly. With a cast of intriguing and suspicious passengers all with motives to kill, Canon Pennyfather must unravel the truth before another murder occurs. Audition Date: February 1st, 2026 Audition Time:  From 10AM Audition Location and Address:  Sunnybank Theatre Group, 14 Mains Rd, Sunnybank QLD 4109 Audition Requirements: Audition materials for each character can be found on the STG Website Auditions page. Audition Registration: Register for auditions here Performance Dates: May 1st - 16th, 2026 Performance Times: Friday & Saturday evenings Saturday & Sunday matinees Performance Location: Sunnybank Theatre Group, 14 Mains Rd, Sunnybank QLD 4109 Rehearsal Dates: TBC Rehearsal Times: TBC Rehearsal Location: Sunnybank Theatre Group rehearsal space, 14 Mains Rd, Sunnybank QLD 4109 Creative Team: Directed by Julie Jones & Cristina Hope Production Website: S unnybank Theatre Group - Murder on the Nile

Title: Midnight Murder at Hamlington Hall Presented By: Centenary Theatre Group Genre: Comedy / Murder Mystery Synopsis: It is opening night of director-writer Shane Tweed’s new murder mystery Midnight Murder at Hamlington Hall. Seven of the amateur theatre company’s cast are down with the dreaded lurgy, so the director, two remaining actors, and whoever else Shane can co-opt must pitch in to continue the tradition of “the show must go on.” Juggling nerves, props, and absurd miscasting, will they manage to pull it off - or will everything go horribly, terribly, and awfully wrong? Mark Kilmurry and Jamie Oxenbould’s comedy looks behind the scenes of amateur theatre, where luck, determination, and unbridled confidence rule… or ruin the day. Audition Date: Saturday January 24th, 2026 Audition Time: From 10AM Audition Location and Address: Centenary Theatre, corner of Halsbury and Queenscroft Streets, Chelmer Performance Dates: May 9th - 31st, 2026 Performance Location: Centenary Theatre, Chelmer Creative Team: Written by Jamie Oxenbould and Mark Kilmurry Directed by William McCreery-Rye Other Information: Any enquiries regarding roles can be directed to the director at willchar04@outlook.com  or 0410 944 614 Available Roles / Character Breakdown: Margaret Matherson (Nurse to the Parson on his final days) & Madame Esmerelda (A clairvoyant) - same actor for both roles Ingrid (A seafarer), Lady Smythe (Local society matron) & Mrs Gloria Whittington (Actress, a favourite of the Parson) - same actor for all three roles Benson (Butler), Giles (Farmer who runs Hamlington Estate), Taffy Hemingway (Playboy distant relation) & Colonel Muster (Served in the RAAF with the Parson) - same actor for all four roles Ernest Black (Detective who enjoyed murder mystery games with the Parson) & Doctor (Appears in scenes 5 and 6) - same actor for both roles above Mr Barton (The Parson’s solicitor) & Doctor (Appears in scenes 1 and 3) - same actor for both roles above Maid – Played by no on-stage actor

Title: Six Characters in Search of an Author Presented By: Ad Astra Theatre Company Genre: Absurdist Drama / Modern Classic Synopsis: Six Characters in Search of an Author  begins as an ordinary rehearsal until six mysterious figures emerge, demanding their unfinished story be told. Abandoned by their author, these Characters are driven by an unrelenting emotional truth that clashes with the Director’s attempts to theatricalise their lives. What unfolds is a provocative collision between reality and performance, where memory, identity, and illusion fracture. Pirandello’s landmark work interrogates who owns a story, what truth really is, and how far we will go to be seen and heard. Audition Date: Saturday 17 January 2026 and Tuesday 20 January 2026 Audition Time: Saturday 17 January: 9:00am – 5:00pm and Tuesday 20 January: 7:00pm – 10:00pm Audition Location and Address: Ad Astra – Galaxy 210 Petrie Terrace, Brisbane Audition Requirements: Prepare two short monologues (approximately 2 minutes each): One dramatic monologue demonstrating emotional depth and truth One comedic monologue showcasing timing, playfulness, and physicality Audition Registration: Email applications to creatives@adastracreativity.com Please include: Recent headshot Current CV (Word document or Google Doc only) Clearly specify the role(s) you wish to audition for Performance Dates: 14 May – 4 June 2026 Performance Times: Thursday & Friday: 8:00pm, Saturday: 7:30pm, Saturday Matinee: 2:00pm, Plus two weekday matinees at 11:00am Performance Location: Ad Astra – Galaxy 210 Petrie Terrace, Brisbane Rehearsal Dates: From 1 February 2026 through to opening Rehearsal Times: Generally two weeknights and one weekend day Table Read: Sunday 1 February, 12:00pm – 3:00pm Warnings: Themes include trauma, emotional distress, and intense family dynamics Creative Team: Director: Heidi Gledhill Assistant Director: Colin Smith Production Website: https://adastracreativity.com Other information: This is a co-op production Performers receive a share of ticket sales after expenses Callbacks: Thursday 22 January 2026, 7:00pm – 10:00pm Casting at this stage is for the Six Character family only CVs for play cast/crew roles are not being accepted at this time Available Roles/Character Breakdown: The Six Character Family The Father  – Pre-cast The Mother:  Quiet, grief-stricken, emotionally raw. She lives inside suffering rather than analysing it. Grounded in feeling, overwhelmed by pain that is constant and unresolved. The Step-Daughter:  Fierce, volatile, magnetic. Sarcastic, seductive, cruel, and wounded. She weaponises mockery and sexuality as defence, oscillating between rage and laughter. The Son:  Withdrawn, contemptuous, emotionally sealed. Cold anger, resistant to catharsis. He rejects theatricality and refuses to be shaped or explained. The Boy:  Silent, watchful, unsettling. Exists on the margins. A young-looking performer (teen appearance required) whose stillness carries inevitability. The Little Girl:  Fragile, instinctive, largely non-verbal. Primary school-aged child. Vulnerable and exposed, embodying neglect and danger.

Title: The Dark Room Presented By: Ad Astra Theatre Company Genre: Drama Synopsis: The Dark Room  is a tense and unsettling drama set in a remote motel room in the Northern Territory. Over several nights, the lives of six people intersect, gradually revealing a devastating incident at the centre of the story. As timelines overlap and perspectives shift, fragments of truth expose deep failures of social and institutional responsibility. Beyond its immediate narrative, the play is a powerful metaphor for Australia’s dark past — confronting themes of violence, erasure, complicity, and the cost of silence. Audition Date: Friday 23 January 2026 and Saturday 24 January 2026 Audition Time: Friday 23 January: 7:15pm – 10:00pm Saturday 24 January: 9:00am – 5:00pm Audition Location and Address: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Audition Requirements: Prepare one dramatic monologue of your choice Selected applicants will be sent script extracts to prepare prior to audition Audition Registration: Email applications to creatives@adastracreativity.com Please include: Recent headshot Current CV (Word document or Google Doc only) Clearly specify the role(s) you are auditioning for Performance Dates: 16 April – 9 May 2026 Performance Times: Thursday & Friday: 8:00pm & Saturday: 2:00pm & 7:30pm Performance Location: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Rehearsal Times: Two weeknights and one weekend day Warnings: Themes include institutional failure, violence, and systemic injustice Creative Team: Director: Greg Scurr Production Website: https://adastracreativity.com Other information: This is a co-op production All creatives receive a share of ticket sales after expenses Callbacks: Tuesday 27 January 2026, 7:15pm – 10:00pm Available Roles/Character Breakdown: Anni (40s):  A passionate social worker struggling under systemic limitations Grace (14–16):  A troubled, angry teenager failed by family and government systems Stephen (30s):  A police officer navigating an unfamiliar and challenging environment Emma (30s):  Stephen’s pregnant wife, isolated and without support Craig (40s–early 50s):  A senior police officer under investigation for a death in custody Joseph (18–21):  A young Indigenous Australian man, a victim of the system at the heart of the play

The high-energy variety show, Centre Stage , brought to the stage by Arise Theatricals , Sunnybank Theatre Group , Threeworlds , and Aussie Stage Buzz , was a fiesta of young talent and good old-fashioned live performances!   Produced and directed by William Piper (who also served as host and headline performer), the show embraced the cabaret-style, anything-can-happen energy. William, just 16 years old, was completely at ease with the audience, cracking jokes, playful improvisation, and genuinely impressive magic tricks. At one point he summed up the vibe perfectly with, “We’re just making it up at this point!” His juggling acts with bowling pins, balls, and hoops were intricate and precise, while his handcuff escape trick was both impressive and laugh-out-loud funny.   The variety acts consistently impressed me! Tyrese Jok, only 12 years old, busted some hip-hop moves with great musicality and stage presence. Macca Cloke brought explosive dance energy to the stage (and threw in some unexpected contortions). The acrobatic duo of Mia Krone and Lisa Gardiner performed a stunningly intense routine to a Swan Lake  remix, showcasing extraordinary balance, strength, and trust. It was the evening's visual pièce de résistance!   Vocal performances by Eliza Cullerton added warmth and storytelling. Eliza sang When He Sees Me from Waitress fully in character, with no visible nerves and strong acting choices, though the music track sat frustratingly quiet, making pitch support difficult (was there a technical fallback?) The Little Mermaid's Part of Your World  later in the show was bright, expressive, and emotionally grounded, showing lovely growth across her two appearances. Audience interaction was a constant hoot. William’s balloon animal trick with an unwitting young "volunteer" stole the show; the kid's reactions were priceless. Later, some very bewildered “buff dads” were dragged onstage as volunteers, much to the crowd’s amusement. The room was alive, playful, and supportive, and I was definitely the loudest person cackling in that theatre.   This concept is crying out for more young talent and a cabaret-style seating arrangement next time. The Centre Stage platform is a fantastic, supportive launchpad for budding performers to try out their acts in the spotlight, gain stage confidence, and soak up the applause. Overall, this was a lively, funny, and genuinely impressive night of entertainment that championed young artists across magic, circus, dance, acrobatics, and song. Bravo to the future stars!

Title:  Macbeth Presented By:  Javeenbah Theatre Company Genre:  Drama / Shakespearean Adaptation Synopsis: Set against the glitz and grit of mid-1900s Las Vegas, this reimagined Macbeth follows a mob enforcer drawn into the city’s gambling underworld. Haunted by visions from slot-machine “witches,” he believes they foretell his rise to power. As ambition consumes him, he descends into deceit, betrayal, and murder, echoing Shakespeare’s original tragedy through a lens of decadence and moral decay. Audition Date:  February 7th, 2026 Audition Time:  From 10:00 am (booked time slots) Audition Location and Address:  Javeenbah Theatre Audition Self-Tape Due (if applicable):  Self-tape submissions accepted via email for those unable to attend in person after completing the audition form Audition Requirements: Prepare a 1-minute Shakespearean monologue or select from the provided audition pieces in the audition pack. Performances should use a General American or New York / Mafia-style accent appropriate to the production. Audition Registration: Audition times must be booked via the online form linked in the audition pack. Audition Pack: Macbeth Auditions Performance Dates: May 9th - 23rd, 2026 Performance Times: Evening performances at 7:30 pm and matinees at 2:00 pm Performance Location: Javeenbah Theatre Rehearsal Dates: From early March 2026 Rehearsal Times: Wednesdays 6:00 pm – 8:00 pm Saturdays 9:00 am – 1:00 pm Additional rehearsals closer to opening Rehearsal Location: Javeenbah Theatre Warnings: Participants over 18 will require a valid Blue Card. Performer Age: Most roles are adult roles. One role may be suitable for a performer aged 16+ with appropriate clearances. Creative Team: Director - Brooke Edwards (BFA Drama, MSecTeach) Production Website: Javeenbah Theatre Company Other Information: All cast members must be financial members of Javeenbah Theatre Company ($10 annual membership fee) Available Roles / Character Breakdown: Macbeth – Gambling-addicted mob enforcer (40s–50s) Lady Macbeth – Casino waitress turned mob wife (40s–50s) Banquo – Honourable mobster (40s–50s) King Duncan – Old-school mob boss (50+) Macduff – Hard-nosed federal agent (30s+) Malcolm – Young exile (16+) Ross – Mobster / messenger (any age) The Mobsters – Hitmen and associates (any age) The Witches (Slot Machines) – Seductive, symbolic figures (any age)

Title: Urinetown Presented By: Tamborine Mountain Little Theatre Genre: Musical Synopsis: Urinetown is a satirical musical set in a dystopian city facing a severe water shortage, where a powerful corporation, Urine Good Company (UGC), monopolizes public toilets, forcing citizens to pay exorbitant fees to pee or be sent to the mysterious "Urinetown" . Audition Date: Sunday January 11, 2026 Wednesday January 14, 2026 (Call-backs/pre-arranged auditions only) Audition Time: 2PM - 7PM Sunday 7:30PM Wednesday Audition Location and Address: Zamia Theatre, 22 Main Street, North Tamborine, QLD 4272, Australia Audition Requirements & Registration: For full info and audition pack please contact Julie Smith (Director) via email (jasmin.smith25@gmail.com) Performance Dates: April 24 - May 9, 2026 Production Website: Tamborine Mountain Little Theatre Other information: TMLT produces multiple plays and community productions each year. Membership, rehearsal schedules, and audition notices can be accessed via their website.