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Title: From Up Here Presented By: Footlights Theatrical Genre: Contemporary Musical Synopsis: From Up Here  is a contemporary musical exploring connection, isolation, and the search for meaning in the modern world. Through a group of interconnected characters, the story navigates personal struggles, relationships, and life-altering challenges, brought to life through evocative music and emotionally driven storytelling. Audition Self-Tape Due: 29 April 2026, 11:59pm Callbacks (if required): 2 May 2026 Audition Requirements: Prepare two contrasting songs in the style of the show Prepare one audition side from the audition pack Submit a colour headshot with your audition All characters require a general American accent Audition Registration: https://forms.gle/rJZc3sjXmLiau75z8 Audition Pack: https://drive.google.com/file/d/19Y7HALsEvdBuSTMYMevldd_dKkXOpwqV/view?usp=sharing Performance Dates: 7–8 August 2026 Performance Location: Crete Street Theatre, Beenleigh Rehearsal Dates: From 5 May 2026 Rehearsal Times: Until 26 May: Monday & Tuesday 6:30pm–9:30pm, Saturday 6:00pm–9:00pm After 26 May: Monday & Wednesday 6:30pm–9:30pm, Saturday 6:00pm–9:00pm Rehearsal Location: Footlights Studio, Wynnum Performer Age: 18+ Creative Team: Director: Andrew Engelsmann Musical Director: Alex Angus Creative: Pagan-Leigh Camilleri Production Website: https://footlightstheatrical.com.au/auditions/ Available Roles/Character Breakdown: Henry  — Early 60s. Bass/Baritone (A2–E4). A respected Yale professor on leave after the loss of his wife. Gentle, introspective, and quietly caring. Emily  — Late 20s. Soprano with strong mix (G3–F5). A freelance writer recently diagnosed with cancer. Warm but emotionally fragile under pressure. Dan  — Late 20s. Tenor (G2–Bb4). A photographer who takes pride in his work. Charming and somewhat unaware of his own appeal. Alan  — Late 30s. Baritone (A2–G4). A businessman juggling career and family. Smooth and charismatic but impulsive in decision-making. Jill  — Early 20s. Mezzo with strong mix (G3–F#5). A recent graduate unsure of her path. Quirky, verbose, and endearing.

Title: Arcadia Presented By: Centenary Theatre Group Genre: Drama / Comedy Synopsis: Written by Tom Stoppard, Arcadia  is widely regarded as one of the greatest plays of the 20th century. Set in a stately English country home across two time periods - 1809 and the present day - it weaves together romance, intellectual discovery, and mystery. As past and present collide, characters explore love, literature, science, and truth, uncovering secrets through fragments of history. Featuring duels, affairs, academic rivalries, and even a tortoise, the play is a rich blend of wit, beauty, and complexity. Audition Date: Sunday April 26th, 2026 Audition Time: From 12:30PM Audition Location and Address: Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD Audition Requirements: Prepare a short monologue (approximately one minute) from any play, performed in a posh British accent (Received Pronunciation). You will also participate in cold readings from the script. Strong accent work is essential. Audition Registration: Contact Director Michael Beh ( stagemike30@gmail.com ) or Production Manager Rhyll Bucknell ( enquiry@centenarytheatre.com.au ) to register. Performance Dates: October 31st – November 22nd, 2026 Performance Times: Friday and Saturday evenings with some Saturday and Sunday matinees Performance Location: Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD Rehearsal Dates: Commencing early August 2026 Rehearsal Times: All cast will rehears on Sundays, plus one weekday evening (split between Old Romantics and New Romantics; exact nights TBC) Rehearsal Location: Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD Warnings: Adult themes including romantic relationships and period-typical behaviour Performer Age: 18+ (some characters portray younger ages) Creative Team: Director - Michael Beh Production Manager - Rhyll Bucknell Production Website: Centenary Theatre Group - Arcadia Other Information: All roles require strong British accents, including Received Pronunciation and upper-class dialects. The production spans two time periods (1809 and modern day), with one shared set and stylistic contrast between “Old Romantics” and “New Romantics.” Available Roles/Character Breakdown: Septimus Hodge – Male, early to mid-20s; charismatic, intelligent, tutor and friend of Byron Thomasina Coverly – Female, appears 14–16 (actor 18+); highly intelligent, curious, emotionally perceptive Lady Croom – Female, 40s–50s; elegant, commanding, fashionable aristocrat Hannah Jarvis – Female, 40s–50s; witty, intellectual writer and researcher Bernard Nightingale – Male, 40s–50s; ambitious academic, confident but flawed Valentine Coverly – Male, early to mid-20s; thoughtful, slightly dishevelled aristocrat Ezra Chater – Male, 30s–40s; comedic, bombastic poet Richard Noakes – Male, 40s–60s; landscape gardener, practical and traditional Captain Brice – Male, 40s; naval officer, romantic Jellaby – Male, 80s–90s; long-serving butler, observant and knowing Chloe Coverly – Female, early 20s; charming, fashionable, romantic Gus/Augustus Coverly – Male, dual role; Augustus (speaking, ~16), Gus (non-speaking); actor 18+

Title: The Vicar of Dibley Christmas Presented By: MATES Theatre Genesis Genre: Comedy / British Sitcom Adaptation Synopsis: Based on the beloved British TV series The Vicar of Dibley , the story follows Geraldine Granger, a progressive female vicar assigned to a quirky rural parish. This stage adaptation brings together episodes including “Radio Dibley” and a festive Christmas special, as the eccentric villagers navigate relationships, traditions, and chaos in their own unique way. Audition Date: April 19th, 2026 Audition Time: 10AM - 2PM Audition Location and Address: Birkdale School of Arts, 101 Birkdale Rd, Birkdale QLD 4159 Audition Requirements: Audition will be via cold read of the script. No learning of lines required. Please note an attempt of the English accent would be preferred. Audition Registration: Email audition form (in Audition Pack) and headshot to info@matesstg.org.au Audition Pack: A Vicar of Dibley Christmas Audition Pack Performance Dates: July 17th - 26th, 2026 Performance Times: Friday - 7:30PM Saturdays - 2PM & 7:30PM Sunday - 2PM Performance Location: Birkdale School of Arts, 101 Birkdale Rd, Birkdale QLD 4159 Rehearsal Dates: Commencing April 28th, 2026 Rehearsal Times: Mondays & Tuesdays - 7PM - 9:30PM Saturdays - 10AM - 4PM Rehearsal Location: Birkdale School of Arts, 101 Birkdale Rd, Birkdale QLD 4159 Warnings: Mild coarse language and adult humour consistent with British comedy. Performer Age: 18+ Creative Team: Director - Karen Neale Production Website: Mates Genesis Theatre - A Vicar of Dibley Christmas Other Information: This is a community theatre production welcoming performers of varying experience levels, with a strong emphasis on character work and comedic timing. Available Roles/Character Breakdown: Geraldine Granger – Female, 30–50; warm, witty, modern vicar with strong presence Alice Tinker – Female, 30–40; sweet, naïve, excellent comedic timing David Horton – Male, 55–70; pompous council chairman Hugo Horton – Male, 30–40; awkward and kind-hearted Jim Trott – Male, 50+; known for saying “No, no, no…” Owen Newitt – Male, 40–60; blunt farmer with dry humour Frank Pickle – Male, 50+; eccentric and verbose Letitia Cropley – Female, 60+; enthusiastic but a terrible cook

MJ the Musical QPAC Lyric Theatre, Michael Cassel Group Directed & Choreographed by Christopher Wheeldon Book by Lynn Nottage Photography by Daniel Boud "Hopefully my music will be what people hold onto, not this noise around it" I’ve always had FOMO about never seeing Michael Jackson perform live. Growing up with his music, you hear the stories and watch the music videos, so walking into MJ the Musical , I was curious to see how a musical would tackle someone so unique, so peculiar, and so widely known. And this production doesn’t just rely on nostalgia. It builds a full theatrical spectacle while digging into the mind behind the music. His sound, his movement, his legacy are all so instantly recognisable, which makes it incredibly hard to get right. So, my expectations were sky high! (Sorry not sorry, this is a long review and I will endeavour to remain impartial.) Set during the rehearsals for the 1992 Dangerous World Tour , the show is framed through an MTV documentary crew, led by Rachel (Penny McNamee) and Dave (Tim Wright), giving us a “mixtape” of Michael Jackson’s life. We move fluidly through the past, jumping between childhood, Jackson 5 fame, and his rise as a solo artist, all while watching him meticulously craft what he hopes will be his most ambitious tour yet. Much like other biographical musicals such as The Boy from Oz , Dusty  and Tina , we’re watching an artist reflect on their past while in the middle of creating something new. But where those shows lean more into their relationships and private life, MJ  keeps its focus firmly on the music, the process, and the pressure. Focusing on the 1960s to 1992, it steers clear of his later allegations, controversies, relationships, and family life, which I appreciate in a grand stage musical. The world is already in motion before the show even “officially” begins. The cast and band wander onstage in a rehearsal room setting, so you’re immediately dropped into the process. What starts as a drab LA dance studio gradually expands as Michael’s imagination takes over, with projections, lighting and sound transforming the space into everything from the disco floor of Soul Train to a full-scale stadium arena. The design team, including Derek McLane ’s scenic work, Peter Nigrini’s projections and Paul Tazewell ’s costumes, plays a huge role in shaping that scale and fluidity. The sound design by Gareth Owen is on another level. Backed by a live band, including a rich horn section, there’s a depth to the sound that really fills the space. There were moments, especially during Stranger in Moscow  nd She’s Out of My Life , where I closed my eyes and it genuinely felt like being at a stadium concert, with the vocals reverberating around you and the bass buzzing in your bones. Somehow it is both intimate and massive at the same time. Vocally, this Australian cast is doing something pretty extraordinary. The covers on at my performance, Luther Brooks IV and Ceeko, were incredible. You wouldn’t have known they weren’t the principals. But that’s just the required standard across the board. There’s nowhere to hide in a show like this. All three performers portraying Michael at different ages capture that signature high speaking voice and delicate falsetto, all while singing with strength and precision through some seriously demanding choreography (the stamina required is no joke!) It makes sense when you hear MJ say, “If I’m not moving, I get restless.” Everything about the performance is built on that constant motion. What I appreciated most is that this isn’t just a “greatest hits” concert (even though you absolutely get the hits!). Beat It  arrives early and wastes no time setting the bar. Act Two sends the audience into a full frenzy with Billie Jean  and Smooth Criminal , complete with a dance evolution that traces the lineage of Michael’s movement style, from the Nicholas Brothers to Fred Astaire to Bob Fosse. The choreography doesn’t just recreate iconic moments either, it honours these influencers behind them, layered with precision, isolation and musicality that demand absolute control from the performers. And it’s not just the actors playing Michael carrying that. The ensemble is right there, matching that detail every step of the way. This is a true ensemble show, with everyone operating at that same triple threat level throughout. The song choices are doing more than just entertaining us. Songs are not just randomly dropped in for the big moments, they help tell his early journey. The writing by Lynn Nottage draws clear connections between his lyrics and his life, including the reality that Black artists weren’t given the same space on radio, no matter how good the music was (until Thriller ). As Michael says, “the singer is a servant to the melody”, and that idea runs right through the show. The show even opens with a Motown-inspired megamix, grounding his sound in the artists who came before him and setting up that sense of musical lineage straight away. I think everyone has a soft spot for the Jackson 5. There's so much energy and polish, and those child actors work hard  to produce tight harmonies, synchronised choreography, and costume changes (with five flawless afro wigs). It’s joyful music, but you can already see the seeds of the perfectionism being planted that would later define Michael. That dynamic is grounded beautifully by Katherine Jackson ( Oyoyo Joi ) in I’ll Be There , while Joseph Jackson ( J. Daughtry)  adds a constant undercurrent of control and tension between artistry, family, and business. What’s particularly engaging is how the two adult versions of Michael move around each other. The older MJ, already a global icon at just 34 years old, feels quieter, more guarded, almost removed. But in the rehearsal room, you still see flashes of that creative spark: His poetic language, the overgrown ideas, the magnetic presence. He’s shown as an innovator and a boundary-pusher, constantly chasing something just "beyond what’s possible." We observe MJ pushing both himself and his team to their limits during this tour rehearsal (with all the proceeds donated, by the way). There is a clear indication he is pursuing perfection not just out of desire, but because he feels compelled to. It becomes evident how much of this drive stems from fear of not being good enough, of being replaced, of losing people's interest. The Thriller  (circus meets zombies) sequence particularly emphasises this in a striking manner, framing his father as a ringmaster figure and puppeteer. Through the 1970s-80s version of Michael, we observe the origins of these pressures: the responsibility to use his talent to provide for his large family, the controlling and often abusive influence of his father Joe, and his extremely young entry into an industry not designed to support artists like him. We see his frustration clearly, and how Thriller  became a way of breaking through into mainstream recognition, going on to become the best-selling album of all time. And then there’s the other side we witness. A gentleness. A softness. A big kid underneath it all. As Rachel says to him, “The way you imagine the world is so beautiful.” But underneath that is someone deeply burdened, isolated, and carrying the weight of enormous expectations. That contrast is where the show really finds its heart. Human Nature  highlights that contrast so clearly. On stage, he feels seen. He wants to be seen. Off stage, he wishes to remain hidden. And in quieter exchanges, you hear lines like, “You are looking at me like I’m crazy, but sometimes I need to escape the demands of my life." The Earth Song  and They Don’t Care About Us  mash-up (a standout for me) feels like a direct response to the relentless pressure of the media in the 1990s with the boom of tabloid print. Cameras are described as “mosquitoes”, constantly buzzing, never leaving him alone, always hovering in the background. If I had one recommendation, it’s not actually about the production itself but the venue. Sitting in the front row of the second balcony at the QPAC Lyric Theatre means you miss quite a bit of the downstage action, which is a shame in such a choreography-heavy show. Honestly, my biggest “complaint” is that I didn’t want it to end! It works as a concert experience, a character study, and a behind-the-scenes look at what goes into building something on this scale. On a personal level, this one hit a bit deeper than I expected. I wasn’t around to see Michael Jackson live, but I grew up on the Thriller  and Bad  vinyls. There’s always been that sense that I missed out on something iconic. This felt, in a small way, like getting a glimpse of it. As a performer and musician myself, watching that level of drive, detail, and commitment was both inspiring and a little overwhelming. MJ the Musical  is intense, exhilarating, and exacting. It celebrates the legacy of one of the greatest entertainers of all time, while also asking what it cost to become him. And for many of us, this might just be the closest we ever get to seeing that magic live.

Singin’ in the Rain – 24 Hour Musical Project Director : Tim Wynn Music Director: Jacob Cavanough Choreographer : Grace Clarke Photographs : Loud Photography Plus an enormous creative team, support team, and 20-piece orchestra   "And were there more than 24 hours a day, they’d be spent in sweet content dreamin’ away" It’s my favourite time of year! Walking into a theatre knowing that what you are about to see was put together in just 24 hours. And honestly… Singin’ in the Rain  might just be the perfect storm for it. It’s one of my all-time favourite musicals too. Great choice, gang!   For those unfamiliar, the 24 Hour Musical Project is exactly what it sounds like. A cast is assembled without knowing the show, a shortlist is teased, and then once the title is revealed, the clock starts. Twenty-four hours later, curtain up. No safety net, no time to overthink, just pure adrenaline and instinct!   After a start that was definitely not delayed by 30 minutes… (they plan everything except the parking situation at Stuartholme), the energy in the theatre was lifted. And that theatre was full of community members, friends, and fellow artists, all ready to witness whatever chaos and brilliance was about to unfold. The 1920s-inspired wigs and costumes did a lot of heavy lifting in establishing the world quickly, leaning into classic Hollywood glamour with just enough theatrical flair.   You could sense  the insomnia in the room. There’s a special giddy delirium that hits when you've been awake for far too long, especially  when that time is spent learning and memorising non-stop information. Every joke feels ten times funnier, every mishap is a slapstick masterpiece, and every success is like a whole group triumph. Also, immediate shoutout to the 20-piece orchestra who were operating on a completely different level. They heroically and impressively delivered a worthy performance based on mostly sight-reading. One standout for me was Benjamin Cole in the role of Cosmo Brown. His comedic delivery was divine, and his energy seemed somehow limitless. Make ‘Em Laugh  had me actually laughing out loud, particularly due to the clever addition of chaotic filmed segments. Ben managed to keep it all together superbly and his voice remained remarkably strong throughout. Zach Price as Don Lockwood leaned beautifully into the old Hollywood leading man style, maintaining charm and composure while not-so-subtly eyeing the prompter like a pro. Bec Swain brought a softness and sincerity to Kathy Selden, with You Are My Lucky Star  offering a genuinely lovely vocal moment amidst the drama. Her adorably delirious giggles only added to the charm.   Ellen Axford was a whirlwind force in the role of Lina Lamont. Lack of sleep seemed like the secret weapon to crank up the character's crazy essence. Her melodramatic solo What’s Wrong With Me and the Duelling Cavalier film sequence were comedic high points. David Goodwin as Dexter leaned right into the madness of being a director, serving up a performance that was knowingly unhinged and utterly committed. Carly Quinn as Dora Bailey delivered a shimmering performance with strong character flair, while Kyle Armstrong gave us a smooth crooner moment in Beautiful Girls , complete with a powder blue tux and dancers draped in flowing silks. Across the ensemble, the commitment to bold, heightened character choices was a joy to watch. No one played it safe, and that’s exactly what this format thrives on. And truly, the entire cast are stellar stars in our community, each finding their moment to shine within the madness.   Also worth noting, articulation and accents across the cast were surprisingly strong considering the circumstances. But by Act 2, things became delightfully loopy. I am fairly certain some performers were seeing double by the end. There were moments where I genuinely wondered if the cast knew what they were saying anymore. Prompter delays became punchlines. Timing mishaps between band and actor became comedy beats. But the cast supported each other beautifully, never breaking character ( much ), no matter what went wrong.   More memorable moments: All I Do Is Dream of You  had excellently tight choreography and infectious energy. The fact that any choreography existed at all, let alone moments of cohesion, is honestly remarkable in this format. Moses Supposes  (the tongue-twister nightmare) was attempted with full tap choreography… bravo Zach and Ben! Broadway Melody  showcased the orchestra at their absolute best, with the cast giving it everything they had left in the tank. The filmed sequences, very likely shot in the early hours of the morning, added an extra layer of humour The real pie-in-the-face moment A couple of early onstage falls in the first 10 minutes (hopefully everyone was okay!) The accidental house lights moment… whoops! And a special mention to Andrew CP’s demonstration of the “talking picture"   This kind of performance requires a very specific skill set. Strong memory, excellent sight-reading, quick instincts, and the ability to just go with it when things inevitably go off track. And this cast rose to that challenge with heart, humour, and an incredible sense of community. The 24 Hour Musical Project is a reminder of just how much talent exists within our local community, and how powerful it is when those artists are given the space to simply create together. The audience was rapturous throughout, all sharing in the same unpredictable experience.   If you ever get the chance to see one of these shows, take it. No two are ever the same of course. And sitting in that audience, surrounded by a room full of people cheering them on, it was very clear… this was one of those “you had to be there” nights. And I’m very glad I was!

Sunny Tribe District – Salad Days Collective PIP Theatre, Milton Playwright:  Patrick Mu’a Co-Directors:  Jasmine Prasser & Rebecca Day Lighting:  Noah Milne Sound:  Tommi Civili Producer:  Georgina Sawyer “Catch a falling sadness, put it in your pocket, make sure that it fades away.” I knew within about 30 seconds what kind of night I was in for at Sunny Tribe District . There were friendship bracelets being made pre-show and an audience already giggling as they entered the theatre. This is absurd comedy in its purest form. You have to meet it where it lives. Blink and you’ll miss a joke. Or five. It’s fast, chaotic, and completely committed to its own strange little world. The premise is simple enough. Knick ( Peter Hatton ) arrives at Sunny Tribe District, a wellness-style summer camp run by his missing brother Ken. The goal? Turn “sadlings” into “gladlings”. The problem? The four counsellors running the place are so bizarre they may as well be aliens. This KKKC quartet – Kurt, Kay, Kris and Celly – are completely animated from head to toe. Each of them leans into a wildly distinct voice and physicality. Kurt lives in what I can only describe as “meerkat mode”. Kris commits to a nasal, voice-cracking delivery. Kay bounces around like she's had thirteen Red Bulls. And Celly… every time she opens her mouth with that blunt, southern accent, I lost it. Peter Wood (Kurt), Isabella Berlese (Kay), Darcy Jones (Kris) and Rebecca Day (Celly) are operating at a level of commitment that honestly makes me wonder how they don’t break character every five seconds. Every tiny facial twitch, every odd physical choice, every abrupt accent switch is intentional and so funny. You need four pairs of eyes to catch everything happening onstage at once, and even then you’ll probably miss something ridiculous happening in the corner. Every time a character has something to say, it somehow turns into a full spectacle. And then there’s the stamina. This cast does not stop. Singing, rapping, dancing, sweating, crawling. It’s clear this is a cast that trusts each other completely, which is essential in a show this tightly choreographed and fast-paced. Every line, every beat, every lighting cue and sound effect is locked in with surgical precision. Directors Jasmine Prasser and Bec Day have clearly drilled this into the cast, because it lands like a perfectly timed sitcom… if that sitcom was the opposite of politically correct. Sound by Tommi Civili and lighting by Noah Milne are used to full comedic effect, punctuating jokes like a perfectly timed punchline. Visually, the show embraces a deliberately dodgy aesthetic. Fake grass, inflatable logs, painted clouds, caution tape… it’s giving “this is definitely not a cult” energy. Costumes lean into classic camp counsellor realness with fanny packs, bandanas and boots. The script by Patrick Mu’a leans hard into pop culture. We’re jumping from High School Musical  to Hannah Montana , Stranger Things , The Lion King , Shawshank Redemption , Harry Potter , the Nutbush… The audience were giving uncontrollable, hyena-level laughter every few seconds. I genuinely find myself wanting to see it again just to clock all the references I missed. There’s a looseness to the performance that made me constantly question how much is scripted and how much is improv. It feels like anything could happen at any moment, but the precision says otherwise. Either way, it keeps you on your toes! Standout moments come thick and fast. Darcy’s bizarrely brilliant rap about denying the existence of sadness has strong Turn It Off  from The Book of Mormon  energy. Isabella's alter ego “Bubbles” Welcome to Burlesque  number is full of sexual innuendos. There are puppets, random props (the fish!), abrupt Aussie accents that shouldn’t have made me laugh as hard as they did, and moments where I genuinely sit there thinking, are they all on speed? And celery? Peter Hatton as Knick plays the necessary grounding force, reacting exactly how we are thinking: “WHAT is happening?” Watching him slowly spiral into the madness is half the fun. There are also these unexpected musical and performance moments woven through the show, while other “lessons” spiral into something closer to improv games turned motivational preachy seminar. What I really love is what the show is actually poking at. This obsession with forced happiness. The idea that we can just repress/mask the messy stuff and “fix” people. The counsellors are avoiding discomfort with spectacle, deflection and increasingly unhinged “lessons”. It becomes, in its own bizarre way, a reminder that joy and connection can exist alongside the mess, and that maybe the goal isn’t to eliminate sadness entirely, but to learn how to sit with it… or at least laugh at it along the way! STD is loud, it’s naughty, it’s very self-aware, and it doesn’t apologise for any of that. This really is a zillennial fever dream of nonsense. So, if you’re up for something chaotic, clever, and genuinely different, Sunny Tribe District  is a wild little ride. But if you are an older generation or have a stick up your butt, this might not be your cup of tea. And for the record… as someone who once worked at a summer camp myself, I can neither confirm nor deny that it is exactly like this.

School of Rock! The Musical Book by Julian Fellowes | Lyrics by Glenn Slater | Music by Andrew Lloyd Webber Presented by Passion Productions Director:  Connor Clarke Musical Director:  Jacqueline Atherton Choreographer:  Stephanie O’Shea Featured Cast Dewey Finn:  Lachie Gleadhill / Rhys Schwarten Rosalie Mullins:  Isabel Kruse Ned Schneebly:  Jackson Kellaway Patti Di Marco:  Isabella Farry Summer Hathaway:  Saana Chang / Olivia Cowdrey Tomika:  Alessia Lily Monteverde / Addison Vogel Zara:  Emily Winwood / Olivia Hancock Freya:  Chloe Coleman / Alex Andrews Katie:  Shaynna Allen / Darci Allen Lawrence/Laura:  Joshua Ngo / Ammi Johnson Billy:  Henry Hedger “You guys have what everyone wants… and that’s talent.” When wannabe rock star Dewey Finn poses as a substitute teacher at a prestigious school, he accidentally discovers a classroom full of hidden musical talent. What starts as a scheme to pay rent quickly turns into something much bigger, as Dewey forms a secret band with his students and sets their sights on the ultimate goal: Battle of the Bands. As a music teacher myself, I had so many reflective moments at this show. That excitement, that pride, that spark where a young performer realises what they're capable of. That feeling of spotting something special and wanting to nurture it is something Passion Productions' School of Rock  captures beautifully. It already feels like something’s about to happen when you take your seat. The lighting hits straight away, bold, colourful, and very “rock concert”. Paired with a live on-stage band, the production has a strong sonic and visual foundation from the get-go. Let’s start with the obvious: the kids run this show, and they absolutely know it. From their very first entrance, there’s a spark. Not just fizzling energy, but an unfeigned thrill to be on that stage. And what makes it even better is that they’re not pretending to be a band… they are one. Playing their own instruments, navigating choreography, vocals, and dialogue, and doing it all with confidence in front of a packed audience. Honestly, some of these kids are already cooler than I’ll ever be. I don’t want to single anyone out too heavily, because the ensemble as a whole is incredibly strong. No one fades into the background. The cohesion, the commitment, the character work, it’s all there. That said, there are a few moments that really land. Olivia Cowdrey as Summer is all precision and assurance, kicking off Act 2’s opener Time To Play like she’s been waiting her whole life for it. Addison Vogel as Tomika delivers an Amazing Grace  that completely stops the room; an astonishingly soulful sound from someone so young, it will catch you off guard. With more acting experience, she will grow into a knockout performer. Olivia Hancock as Zara brings a smooth, warm tone that sits beautifully in the mix while shredding on the electric guitar. Henry Hedger as band stylist Billy is an energetic delight, full of personality and completely in his element in this role. Alex Andrews as Freya is a tiny powerhouse behind the drum kit, already showing serious control and rockstar attitude. Darci Allen locks in on bass as Katie with a cool, confident air, while Ammi Johnson’s Laura on keys brings a quiet focus that balances out the group. The musicianship across the board is genuinely impressive… and, not going to lie, a little intimidating! As Dewey Finn, Lachie Gleadhill steps into the big shoes of Jack Black and makes the role his own Aussie version. He captures the scruffy charm of the character well, with a strong vocal presence for his many songs and an easy rapport with both the audience and the kids. I would have loved him to push even further into the goofiness at times, really leaning into that larger-than-life comedy, but there is no denying his command as this mighty character. Isabel Kruse as Principal Rosalie Mullins is poised and polished to perfection, with a stunning soprano and just the right amount of rigidity to make her arc land. Jackson Kellaway’s Ned fits the “classic teacher” awkward mould perfectly, and Isabella Farry’s Patti is… a lot, in exactly the way she’s meant to be. With many roles double cast, there’s clearly a huge pool of talent across the company, and it would be well worth catching the alternate cast to see what a completely different lineup brings to these roles. Under Jacqueline Atherton’s music direction, the band and vocals work harmoniously together, creating a full rock sound while still allowing the young performers' voices to shine. At times, particularly in faster-paced stamina songs or rapid dialogue exchanges, clarity slips slightly. Stick It to the Man  is easily the standout for pure energy. Stephanie O’Shea’s choreography is punchy, scrappy, and full of attitude. Not overly polished, just the right amount of mess to appear rebellious. This is where the cast really lets loose, and you can feel it ripple through the audience. If Only You Would Listen presents a lovely tonal shift, beginning with an intimate performance by a group of four before broadening to include the entire youth cast to highlight the strain and distance between the parents and kids. And then Teacher’s Pet  closes things out exactly how you want: loud, proud, and fully committed. Rhythm and cohesion in this number is tricky, but they absolutely rise to the challenge and do their best! Connor Clarke’s direction leans into the fun of the piece, and it’s clear the cast, especially the kids, have been given space to play. There are some great improv moments scattered throughout, which keeps the show feeling fresh and alive rather than mechanical. The accents, the little local nods, the throwaway jokes that only we would get, all gives this production its own identity rather than feeling like a copy of the original. My favourite was the line: “Without Battle of the Bands, there’s no Harvard or QUT… you might get stuck going to Griffith,” which definitely got a snort-laugh from this reviewer! The staging works cleverly with the space too. With no elevated stage, the action spills outward, especially during Battle of the Bands , pulling the audience right into the action rather than keeping them at a distance (shoutout to the daggy dad and mum dancing on stage left!) Visually, the contrast between strict school uniforms and full rockstar transformation is noticeably brilliant. By the end, it’s safe to say these kids are running the school. What really stuck with me wasn’t just the performances, but the effort behind them. This is community theatre, and while it’s not a professional production, the level of passion, commitment, and talent on display proves just how strong this community really is. Between the live music, the fearless young performers, and a creative team that clearly understands the joy at the core of the show, School of Rock  delivers exactly what it promises. It’s about finding your voice… and having the guts to use it. And this cast? They’ve definitely found theirs.

Title:  Harvey Presented By:  Tugun Theatre Company Genre:  Comedy / Drama Synopsis: Elwood P. Dowd insists on including his friend Harvey in all of his sister Veta’s social gatherings. Trouble is, Harvey is an invisible six-foot-tall rabbit! As Veta becomes increasingly concerned about Elwood’s sanity, a whirlwind of misunderstandings, charm, and unexpected friendships unfolds in this heartwarming classic comedy. Audition Date:  May 2nd, 2026 Audition Time:  From 3PM Audition Location and Address:  Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Audition Requirements:  Open to performers of all ages and experience levels; details provided upon booking Audition Registration:  Email director.tuguntheatre@outlook.com  or visit www.tuguntheatre.org Performance Dates:  August 7th - 29th, 2026 Performance Times:   Fridays - 7:30PM Saturdays - 2PM & 7:30PM Performance Location:  Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Rehearsal Dates:  Beginning June Rehearsal Times:  Monday and Thursday evenings Rehearsal Location:  Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Performer Age:  All ages welcome Creative Team:  Director - Judy Neumann Production Website: Tugun Theatre Company - Harvey Other Information:  Spaces are limited; early booking is encouraged Available Roles / Character Breakdown: Elwood P Dowd Veta Louise Simmons Myrtle Mae Simmons Dr William B Chumley Betty Chumley Duane Wilson Dr Lyman Sanderson Nurse Ruth Kelly Judge Omar Gaffney Mrs Ethel Chauvenet

Title: Joseph and the Amazing Technicolor Dreamcoat Presented By: Shine Performing Arts Genre: Musical Theatre / Youth Performance Synopsis: Told entirely through song with the help of a main character Narrator, the musical follows preferred son Joseph. After being sold into slavery by his brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the amorous advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled, Elvis-inspired, Pharaoh. Joseph’s solution to Egypt’s famine elevates him to Pharaoh’s right-hand man and reunites him with his family. The magical musical is full of catchy songs in a variety of styles, from a parody of French ballads (“Those Canaan Days”), to country-western (“One More Angel in Heaven”) and calypso (“Benjamin Calypso”), along with the unforgettable classics “Any Dream Will Do” and “Close Every Door.” Appropriate for all audiences and groups, Joseph is performed hundreds of times a year around the world. Audition Date: April 18th, 2026 Audition Time: 11AM - 1PM 2PM - 4PM Audition Location and Address: St Benedict’s College, 21 St Benedict’s Close, Mango Hill Audition Self-Tape Due: Video Auditions for the characters of Narrator and Joseph will also be accepted. These must be received prior to the before 8am on 18th April. Please send a shareable link to info@shineperformingartsacademy.com.au Audition Requirements: Make sure you are wearing comfortable clothes that you can move in You must sing a song from the show relating to the character you are auditioning for. These songs can be found in the character descriptions. You only need to attended morning or afternoon session All people auditioning will sing with tracks. All auditioning for ensemble will sing solo lines. We have licensed the UK Tour version of the show, so please use this version for your audition. Audition Pack: Joseph and the Amazing Technicolor Dreamcoat Audition Pack Performance Dates: July 3rd - 11th, 2026 Performance Times: Fridays - 7:30PM Saturdays - 2PM (July 11th only) & 7:30PM Sunday: 4PM Performance Location: Burpengary State Secondary College, 192 Pitt Rd, Burpengary QLD 4505 Rehearsal Dates and Times: Tuesdays & Thursdays - 7PM - 9PM Saturdays - 1PM - 4PM Rehearsal Location: St Benedict’s College, 21 St Benedict’s Close, Mango Hill Warnings: Includes theatrical haze and strobe lighting effects Performer Age: Children’s Chorus - 8–14 years Other roles - 16+ All performers 18+ must hold a current Blue Card Creative Team: Director - Paula-Mary Camilleri Musical Director/Choreographer - Nikki Glowacki Associate Musical Director - Benjamin Sitarz Production Manager - James Reid Costuming - Shan Michaels, Sarah Hunt & Viv Moss Production Website: Shine Performing Arts - Joseph and the Amazing Technicolor Dreamcoat Other Information: There is a $80 production fee (includes one comp ticket). Discounts are available for families and payment plans can be arranged. Cast members may be required to supply some costume items; shoes are the performer’s responsibility. All performers must be available for all performances and must sign a cast agreement and code of conduct. Additional rehearsals may be scheduled closer to the show. The production runs approximately 2 hours with a 20-minute interval. Available Roles / Character Breakdown: Pre-cast roles: Pharaoh, Jacob Narrator – Strong rock vocalist (mezzo/soprano or tenor), strong comedic ability, moves well (Song: Jacob & Sons) Joseph – Tenor. Dreamer and central character (Song: Close Every Door) Joseph’s Brothers (16+) – Strong singers and movers. Featured styles include country, calypso, and French café (Songs: One More Angel in Heaven, Canaan Days, Benjamin Calypso) Reuben, Simeon, Levi, Naphtali, Issachar, Asher, Dan, Zebulun, Gad, Benjamin, Judah Potiphar – Baritone, Noël Coward-style character (Song: Any Dream Will Do) Butler – Character role (played by a brother), contrasts with Baker Baker – Character role (played by a brother), contrasts with Butler The Wives (16+) – 8 female ensemble roles, strong dancers and singers (Song: Prologue) Mrs Potiphar – Small acting role Ensemble – Mixed voices, strong movers (Song: Prologue) Dance Ensemble – 12 dedicated dancers Choir & Children’s Chorus (8–14) – Strong vocal group featured throughout the show (Song: Any Dream Will Do)

Title: My Hamster is a Pirate Presented By: Brisbane Arts Theatre Genre: Family / Adventure / Comedy Synopsis: When ordinary boy Ben discovers that his hamster Stig isn’t merely a seed hoarder—but a swashbuckling pirate captain in search of treasure—he’s whisked away on a miniature voyage full of sea‑faring mayhem, rival pets, neighbourhood “villains,” and unlikely bravery. This whimsical adaptation explores imagination, courage, and the power of friendship in unexpected places. Audition Date: Sunday 26th April 2026 Audition Time: 12PM – 4PM (with additional slots opening 4PM–6PM if required) Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: CV (if available) and headshot (or clear face photo) to bring or email One‑minute monologue for the character you’re auditioning for Those auditioning for Lucy to prepare a one‑minute song with backing track connectivity for playback Cold reads from script possible Audition Registration: Register for an audition HERE Audition Pack: My Hamster is a Pirate Audition Pack Performance Dates: July 4th - 11th, 2026 Performance Times: 11AM Daily Performance Location: Southbank TAFE Auditorium, South Bank QLD Rehearsal Dates & Times: Please see audition pack for full rehearsal schedule Rehearsal Location: Lavalla Centre, Paddington QLD Warnings: Family‑friendly material; no strong adult themes noted. Performer Age: 15+ eligible to audition; roles include younger parts played by older actors as specified. Creative Team: Director - Sandra Harman Production Website: Brisbane Arts Theatre - My Hamster is a Pirate Other Information: All successful cast members are expected to become financial members of Brisbane Arts Theatre (membership details available on the theatre website). Available Roles / Character Breakdown: Ben  – The central boy (cast as older kid/actor) Lucy  – A spirited younger girl (cast as older kid/actor) Mum  – Adult female (30s–40s) Dad  – Adult male (30s–40s) Stinky  – Hamster puppet (puppeteer visible) Doris Pegg  – Elderly lady (70s) Algernon Pickles  / Talent Show MC  – Thief character Sasha  – Child (cast as older kid/actor) Raoul / Robbo  – Ensemble roles Larry Skinner  – Thief character Steven Bradbury  – Olympic speedskater character Angelica - Sasha’s sister (8) / sachet of ketchup Kid With Sign  – Child roles Carrot / Meat Pie  – Non‑speaking roles (doubled as talent show kids)

Title: Home, I’m Darling Presented By: Switch Up Productions Genre: Comedy Synopsis: Written by Laura Wade, Home, I’m Darling  is an Olivier Award-winning comedy that explores one woman’s obsession with recreating the “perfect” 1950s housewife lifestyle in the modern world. As Judy devotes herself to domestic perfection, the cracks begin to show, revealing the tension between fantasy and reality, identity and expectation. Audition Date: Wednesday April, 22nd 2026 Audition Time: From 7PM Audition Requirements: In-person audition (details to be provided upon registration) Upload headshot and theatrical résumé Provide availability and potential scheduling conflicts Audition Registration: Complete the registration form HERE Performance Dates: July 17th - 25th, 2026 Performance Location: Cambrian Centre, Booval Warnings: Themes of gender roles, identity, and societal expectations Production Website: Swich Up Productions - Home, I'm Darling Other Information: Auditionees must submit contact details, availability, and role preference Headshot and résumé required Availability will be a key consideration in casting Available Roles / Character Breakdown: JUDY (30's-mid 40's) - The protagonist. Obsessed with 1950s nostalgia. Behind her "perfect" domestic exterior lies a deep fragility. JOHNNY (30's-mid 40's) - Judy's husband. He embraces the fantasy but struggles with the pressures of being the sole breadwinner in a modern world. FRAN (30's-mid 40's) - A close friend who loves the aesthetic but refuses to adopt the extreme lifestyle. MARCUS (mid 40's-early 50's) - Fran's husband. Enjoys the retro vibe but represents more traditional, outdated male attitudes. SYLVIA (50-70) - Judy's mother. The ultimate reality check; she lived through the actual 50's and questions her daughter's obsession. ALEX (any age) - Johnny's manager. Represents the modern corporate world and the friction it creates with the couple's fantasy.

Title: Ode to a Lost Love Presented By: Cornerstone Theatre Co. Genre: Drama Synopsis: A story centred on love, loss, and faith. This production explores human connection through honesty, vulnerability, and emotional truth, inviting performers to engage deeply with the material and bring authenticity to their work. Audition Date: April 19th, 2026 Audition Time: Submission close 8PM Audition Location and Address: Online submission Audition Requirements: Self-tape submission (Google Drive or unlisted YouTube link) Include a slate (name + role) Emphasis on honesty, vulnerability, and connection over polish Audition Registration: Register to audition HERE Audition Pack: Ode to a Lost Love Audition Pack Performance Dates: August 27th - September 5th, 2026 Performance Times: Thursdays - 7PM Saturdays - 10AM & 6PM Rehearsal Dates: Tuesdays & Thursdays, July 14th - August 13th, 2026 Dress & Tech Rehearsals August 18th, 20th & 22nd, 2026 Rehearsal Times: July 14th - August 13th - 4PM - 6PM August 18th & 20th - 4PM - 6:30PM August 22nd - 9AM - 5PM Warnings: Themes of love, loss, and emotional intensity Creative Team: Director - Skyla Freitas Other Information: Availability for all rehearsals and performances preferred Parent/guardian details required for performers under 18 or those auditioning for Elara Available Roles / Character Breakdown: Cleo (Younger or Older) – Lead role Theo (Younger or Older) – Lead role Elara – Supporting role Ensemble