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.

The 25th Annual Putnam County Spelling Bee Presented by: Hanson Creative Venue: BackDock Arts Director / Choreographer / Designer: Emma Hanson Assistant Director: Lucy Wilding Music Director: Benjamin Richards Photography: Pip Suschinsky and Mia Lierich “Adulthood brings its own peculiar rejections.” I had better use some fancy vocabulary in this review, given the circumstances... This was my first time seeing The 25th Annual Putnam County Spelling Bee, and it didn’t take long to see why people speak about it with such fondness. Hanson Creative’s production at BackDock Arts was part musical, part competition, part group therapy session for overachieving, socially awkward kids trying to spell their way to glory. It was a lexical battlefield with juice boxes! The show follows six young contestants as they navigate parental pressure, perfectionism, perception, and their own blossoming personalities. Each child brings something different to the competition: overachiever Marcy Park, politically aware Logainne Schwartzandgrubenierre, homeschooled Leaf Coneybear, intense William Barfée with his “magic foot,” lonely Olive Ostrovsky, and returning champion Chip Tolentino, who is dealing with some inconvenient puberty-related distractions. Emma Hanson took on the roles of director, choreographer and designer, with Lucy Wilding assisting and Benjamin Richards leading the music. Hanson’s direction balanced broad comedy with real vulnerability, which is essential in a show that could easily become a parade of wacky characters if the audience did not care about them. The scenes and songs may seem silly, but they require an enormous amount of precision in both direction and choreography from Hanson. The small set resembled a school gym, complete with posters and banners, lettered wooden blocks, an adjudicators’ table, and the all-important microphone. It had the look of a community event assembled with care. Plus, it gave the cast lots of space for the fast-paced action. BackDock Arts was a perfect fit for this kind of close-up comedy. The audience gets pulled into the spelling bee almost immediately, not just as spectators but as part of the competition! Three members of the audience are always roped in to join the bee and I salute them. The chosen participants (only in Act 1) were excellent at spelling words, joining choreography when needed, and reacting in the moment. It takes courage to stand in the spotlight, all while fictional kids are having emotional breakdowns around you. The last audience member left standing kept getting words correct, which made the whole thing even funnier. Eventually, the last-resort Māori word arrived and did its job. (Props to Caleb Hocking's pronunciation of it!) The crowd was audibly enjoying themselves throughout, with plenty of snort-laughing and polite clapping for correctly spelled words like proud parents at an actual spelling bee. Kimberley Rigby brought sunshine and support to Miss Rona Peretti. She embodied the perfect former-champion-turned-host energy, taking the bee very seriously while genuinely caring about these strange little humans and their emotional well-being. Her vocals were especially beautiful in “The I Love You Song,” where her soaring soprano blended gorgeously with Reid McWha and Megan Hargraves. Isabella Hansen brought Mitch Mahoney to life as the comfort counsellor doing community service, marking each elimination with the solemn ritual it deserved. Caleb Hockings excelled as Vice Principal Douglas Panch, embodying the pedantic assurance of a man destined to wield a clipboard. He dished out progressively unhinged definitions with an official demeanour and deadpan wit, no matter how hilarious the “use it in a sentence” examples became. (My favourite was 'exclamation.') Panch is one of those roles where the actor has to control the pacing of the whole room, especially when audience participants are involved, and Hockings handled that brilliantly. The contestants each brought their own unique juvenile energy. They showed up with name tags and fully formed neuroses, like a bunch of precocious stress machines ready to go. Alicia Lorie as Leaf Coneybear may very well be my spirit animal. Leaf was gregarious in the way only a homeschooled child in a cape can be, and Alicia captured that strange little brain beautifully. Their “I’m Not That Smart” solo was wonderfully weird, using vocal modulation, puppet work, and adorable kiddie logic. Lara Anderson played Logainne, bringing a perfect lisp and a fierce little political-warrior intensity to the role. She had the focused determination of a child who has attended more political meetings than birthday parties, and her “Woe Is Me” was a great character number, capturing both Logainne’s aplomb and the pressure placed on her by her two dads. Meg Hargraves gave one of the strongest vocal performances as Olive Ostrovsky, the sweet, neglected and nervous contestant who finds comfort in words. “My Friend, the Dictionary” was beautifully sung and hinted at a lot going on beneath the surface. By the time the show reached “The I Love You Song,” alongside Kimberley Richards and Reid McWha, Hargraves had made Olive so sympathetic that the show’s heart grew three sizes. Varni Keioskie as Marcy Park was polished, terrifyingly capable, and one extracurricular away from total combustion. Her precise elocution made “I Speak Six Languages” a standout solo, presenting Marcy as the queen of bragging and the patron saint of overcommitted children. With a cameo from Jesus himself, the number became a glorious academic spiral of perfectionism, pressure and identity crisis. Reid McWha’s William Barfée was a theatrical little gremlin, full of rage, self-importance and deeply serious foot-based spelling technique. With a touch of Alan Cumming about him, Reid captured all the irritation, intelligence and strange magnetism the role needs. Dominic Ambrose handled Chip Tolentino’s spectacular adolescent downfall in “My Unfortunate Erection,” which is a hard song to pull off (pun intended). Throwing snacks at the audience mid-crisis, and the number brought exactly the kind of mortified teenage chaos the role needs. The ensemble work was one of the production’s strengths, with the cast easily shifting into other assorted roles without taking focus from the contestants. At times, they even gestured to people in the audience as “characters,” which suited the playful, semi-improvised feel. Standout group numbers like the cacophonous “Pandemonium,” “Goodbye” and “Second” captured the rising stakes of the competition while keeping the tone light. The band, led by Benjamin Richards, was precise and well-balanced in the space, supporting the cast through the score’s fast comic rhythms. Everyone in this cast must have studied hard — not only their spelling, but their timing, character work, and emotional nuances. This is a sesquipedalian (yes, I used a thesaurus) way of saying: quirky characters, great musical! Hanson Creative’s The 25th Annual Putnam County Spelling Bee celebrated the kids who are trying their best. On the surface, it is a musical about spelling increasingly difficult words. Really, it is about growing up, feeling out of place, wanting to feel special, and finding moments of connection through competition. I would call that a S-U-C-C-E-S-S.

Title: &Juliet Presented By: Gold Coast Little Theatre Genre: Pop Musical / Jukebox Musical Synopsis: &Juliet flips a familiar story on its head, imagining what might happen if Juliet chose a different ending. Driven by a soundtrack of contemporary pop hits, the show celebrates courage, identity, self-discovery and the freedom to write your own story. Audition Date: First round online auditions due by 5:00pm Saturday 25 July 2026 Callbacks: Saturday 1 August 2026 2:00pm - 6:00pm Callback Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads Audition Requirements: Submit a first-round audition video including: Approx. 90 seconds of a song in the style of the show or character One short monologue in the style of the character auditioning for Ensemble-only auditionees do not need to submit an acting piece Callback auditionees will attend a mover or dancer call Audition Registration: Register for an audition Audition Pack: Download the audition pack Performance Dates: 12 November - 5 December 2026. Performance Location: Gold Coast Little Theatre, 21a Scarborough Street, Southport Rehearsal Times: Mondays and Wednesdays: 6:30pm–9:30pm, Sundays: 2:00pm–6:00pm, extending to 8:00pm once rehearsals move into GCLT Rehearsal Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads Then Gold Coast Little Theatre, 21a Scarborough Street, Southport Performer Age:17+ Creative Team: Director & Choreographer: Kim Reynolds Associate Director: Emily Monsma Associate Choreographer: Cooper Swain Vocal Director: David Valks Stage Manager: Di Morgan Production Website: Gold Coast Little Theatre Auditions Other information: Questions: juliet@gclt.com.au Early submissions are encouraged. Cast members will be required to follow the production’s Safe Space Policy. All cast must be available for technical rehearsals, dress rehearsals and performances. Availability may affect casting. Available Roles/Character Breakdown: Juliet (female-presenting, early 20s) Pop soprano with strong belt. Fierce, passionate and full of life. A dynamic leader with humour, strength and emotional depth. Anne Hathaway (female-presenting, mid 30s–40s) Mezzo with strong belt. Smart, grounded and modern. Offers perspective, wit and emotional clarity as she co-authors Juliet’s new journey. William Shakespeare (male-presenting, mid 30s–40s) High baritone/tenor. Confident, theatrical and frequently outshone by others. Blends ego with vulnerability. Angelique (female-presenting, 35+) Mezzo with strong belt. Juliet’s nurse; bold, confident, flirtatious and warm, with strong comedic timing. May (non-binary/gender diverse, early 20s) Flexible voice type. Warm, thoughtful and self-assured. Explores identity, love and belonging with quiet strength. François (male-presenting, 20s–30s) Tenor. Earnest, kind-hearted and awkward. Finds courage through connection and self-expression. Lance (male-presenting, 35+) Baritone. François’s father. Traditional and proud, but with a soft centre and openness to change. Romeo (male-presenting, 20s–30s) Tenor. Charismatic, flamboyant and full of himself. A comic romantic lead with swagger and big personality. Shakespeare’s Players (all gender presentations, all voice types, 17+) A versatile ensemble who shape the worlds of the production through movement, vocals and storytelling.

Title: Ben Hur Presented By: Ipswich Little Theatre Genre: Comedy / Farce / Stage Adaptation Synopsis: Patrick Barlow’s Ben Hur follows an amateur theatre troupe attempting to stage the epic story of Judah Ben-Hur with only four actors. As Ben-Hur falls from prince to galley slave and rises to champion charioteer, the performers wrestle with chariot races, sea battles, stage combat, rivalries and offstage romances in a comic, fast-paced retelling from the writer behind The 39 Steps. Audition Date: Monday 27 July 2026 Audition Time: 7:30pm Audition Location and Address: Jean Pratt Building, ILT Complex Audition Requirements: Audition pieces TBA. Copies of the script and/or sides can be obtained from director Sam Hoepner. Audition Registration: Complete the audition form via Ipswich Little Theatre. Performance Dates: 18 November – 5 December 2026 Performance Location: Ipswich Little Theatre,15 Burley Griffin Dr, Ipswich QLD 4305 Creative Team: Director: Sam Hoepner Assistant Director: Melind Park Available Roles/Character Breakdown: Actor 1 / Daniel (30s–40s) Plays Melchior, Ben-Hur and Nubian dancer. Actor 2 / Omar (20s–30s) Plays Caspar, Archangel Gabriel, Messala, Jesus, Galley Captain, Roman Captain, Galley Slave 2, Nubian dancer and Valentinyo. Actor 3 / Crystal (20s–30s) Plays Mary, Tirzah, Esther, Ancient Slave and Nubian dancer. Actor 4 / Edgar (40+) Plays Balthasar, Sara, Centurion, Slave-driver, Quintus Arrius and Pontius Pilate.

Title: Madagascar – A Musical Adventure JR. Presented By: Brisbane Arts Theatre Genre: Junior Musical Synopsis: Based on the hit DreamWorks film, Madagascar JR. follows Alex the lion, Marty the zebra, Gloria the hippo and Melman the giraffe as they leave the safety of New York's Central Park Zoo and find themselves shipwrecked on the island of Madagascar. Filled with colourful characters, catchy songs and plenty of comedy, this family musical is a celebration of friendship, adventure and discovering where you truly belong. Audition Date: Sunday 19 July 2026 (Call backs: Monday 20 July 2026) Audition Time: One-hour workshop sessions between 12:00pm–4:00pm (additional sessions 4:00pm–6:00pm if required) Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington Audition Self-Tape Due (if applicable): Video auditions accepted for those unable to attend and must be submitted on or before Sunday 19 July 2026. Audition Requirements: Open to performers under 18 years of age at the time of auditions. Prepare up to one minute of a song with recorded backing on a Bluetooth-compatible device. Cold reads from the script. Bring a headshot (or clear photo) and CV (if available), or email them to Madagascar26@artstheatre.com.au. Audition Registration: Book an audition via the Brisbane Arts Theatre website. Audition Pack: https://artstheatre.com.au/events/auditions-madagascar-jr/ Performance Dates: 26 September – 3 October 2026 Performance Times: 11:00am daily Performance Location: Southbank TAFE Auditorium, 66 Ernest Street, South Brisbane Rehearsal Dates: 20 July – 24 September 2026 Rehearsal Times: Mondays & Wednesdays: 6:00pm–9:30pm Sundays: 12:00pm–4:00pm Tech rehearsals: 20–26 September (daytime) Rehearsal Location: Lavalla Centre, Paddington and Southbank TAFE (Tech Week) Performer Age: Under 18 years Creative Team: Director: Natalie Murtagh Assistant Director: Michelle Dagan Musical Director: Rhea Basha Choreographer: Szonja Meszaros Stage Manager: Vladimir Bartowski Production Website: https://artstheatre.com.au/events/auditions-madagascar-jr/ Other information: Successful cast members must become Brisbane Arts Theatre members ($40 annual membership). Full availability is required for tech week and performances. Enquiries: Madagascar26@artstheatre.com.au | (07) 3369 2344 Available Roles/Character Breakdown: Alex (Any Gender) The confident "King of New York City." A charismatic showman with a love of steak and his friends. Strong singer and actor. Marty (Any Gender) A zebra dreaming of life beyond the zoo. Likeable, adventurous and optimistic. Strong singer and actor. Gloria (Any Gender) A bold, caring hippopotamus who acts as the group's protector. Strong singer and actor. Melman (Any Gender) A lovable hypochondriac giraffe with excellent comic potential. Strong actor and singer. Skipper (Any Gender) Leader of the penguins. Confident, commanding and funny. Kowalski (Any Gender) The intelligent second-in-command penguin. Rico (Any Gender) The tough, karate-chopping penguin. Private (Any Gender) The adorable and innocent penguin. King Julien (Any Gender) The flamboyant King of the Lemurs. Excellent comic timing with strong singing, dancing and acting skills. Maurice (Any Gender) King Julien's cautious second-in-command. Mason (Any Gender) A witty chimpanzee with plenty of personality. Mort (Any Gender) The tiny, lovable lemur. Lynn, Lew, Lee & Lars (Any Gender) Energetic lemurs with speaking roles. Foosa Leader (Any Gender) Leader of the fearsome Foosa predators. Featured Dancers (4) Also portray Lionesses, Steaks, Animal Control Officers and Foosa. The ensemble portray a variety of characters including: Lionesses Lemurs Penguins Foosa Zoo Animals New Yorkers Servers Featured speaking cameo roles include: Candy Hammernose Ship's Captain Passerby Cameraman Newspaper Man Old Lady Police Officers Animal Control Officers

Title: The Unexpected Guest Presented By: New Farm Nash Theatre Genre: Mystery / Thriller Synopsis: On a foggy night in South Wales, a stranger stumbles into a house to find a man dead and his wife standing over him with a smoking gun. What follows is a web of secrets, lies and shocking revelations as the truth slowly unfolds. Directed by Susan O'Toole Cridland, this production remains true to Agatha Christie’s style while exploring darker, more sinister and gothic undertones. Audition Date: Sunday 19 July 2026 Audition Time: 2:00pm Audition Location and Address: Nash Playshed, 4 Amity Street, New Farm Audition Requirements: No prepared piece required. Performers will be asked to cold read from script excerpts. English accent required (a general English accent is suitable). Richard Warwick will be doubled with Inspector Thomas, Julian Farrar and Sergeant Cadwallader. Performance Dates: 13 November – 5 December 2026 Performance Location: The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm Creative Team: Director: Susan O'Toole Cridland Production Website: https://www.nashtheatre.com Other information: Ages are approximate and flexible depending on casting. Actors of all backgrounds are encouraged to audition. Available Roles/Character Breakdown: Laura Warwick (Female, 20s–40s) Elegant, composed and emotionally complex. The wife of the murdered man who appears fragile but possesses quiet strength and depth. Michael Starkwedder (Male, 30s–50s) A confident, quick-thinking stranger who becomes entangled in the situation. Charismatic, observant and morally ambiguous. Richard Warwick / Inspector Thomas / Julian Farrar / Sergeant Cadwallader (Male, 30s–60s) A versatile performer to play multiple roles: Richard Warwick: The deceased husband whose brief appearance is pivotal to the story. Inspector Thomas: Methodical, perceptive and authoritative police inspector. Julian Farrar: A reserved and somewhat enigmatic neighbour. Sergeant Cadwallader: Practical, grounded police officer. Miss Bennett (Female, 40s–60s) Laura's efficient and observant secretary. Intelligent, composed and quietly perceptive. Henry Angell (Male, 50s–70s) A devoted and loyal servant. Warm, sincere and protective of the household. Jan Warwick (Male presenting, late teens–20s) Richard's younger half-brother. May be played by a female-presenting, non-binary or gender-diverse performer. Sensitive, troubled and emotionally vulnerable. Mrs Warwick (Female, 50s–70s) Richard's mother. Strong-willed, sharp and formidable, with a commanding presence.

Title: The Opposite Sex Presented By: Act 1 Theatre Genre: Adult Comedy Synopsis: David Tristram, author of What's For Pudding?, turns his attention to marital infidelity and its warring consequences in this adult-humoured comedy. Mark and Vicky are having June and Eric over for dinner. But there’s a catch: they’ve all met before, just not in the combinations you’d expect. It’s a hilarious, fast-moving comedy about secret pasts and very public meltdowns. Audition Time: Sunday 10 May: 10:00am and Tuesday 12 May: 7:00pm Audition Location and Address: Act 1 Theatre, In the foyer at the theatre, Address: 238 Gympie Rd, Strathpine QLD 4500 Audition Requirements: Be ready for a cold read from the script. Audition Registration: For more information, email acttheatre2@gmail.com Performance Dates: 7–23 August Performance Location: Act 1 Theatre Strathpine Performer Age: 18+ Creative Team: Director: Lilian Harrington Production Website:www.act1theatre.com.au Available Roles/Character Breakdown: Mark: High-strung, perhaps a little too aware of his own importance. Vicky: Sharp, organised, and trying to keep it all together. Eric: A bit more "down to earth" (and perhaps a bit oblivious). June: Bold, direct, and definitely not afraid to speak her mind.

Title: Alice (In Wonderland) Presented By: Mousetrap Theatre Genre: Contemporary Musical Theatre Synopsis: Alice is a bold new musical reimagining of the classic Wonderland tale through the lens of mental health, identity, and personal growth. When Alice, a typical Australian high school girl, is drawn into a fractured Wonderland, she must navigate a divided world where emotion is suppressed, logic is distorted, and the mysterious Desolation is spreading. This is not a traditional fairy tale, but a psychological journey exploring anxiety, depression, self-doubt, emotional expression, and learning to live with uncertainty. Audition Date: Tuesday 12 May Audition Time: 7:00pm Audition Location and Address: Mousetrap Theatre, 157 Sutton Street, Redcliffe Audition Requirements: For named non-ensemble roles: Prepare a song of your choice, maximum 2 minutes. Bring a backing track on USB or phone with any required adaptors, or email the track to the director no later than 2 days before the audition. Auditionees will also complete a cold read from the script, with no script preview available beforehand. For ensemble-only roles: No song preparation required. Auditionees will be taught a section of a song from the show and sing it as a group. All auditionees will learn a dance piece at the audition. Wear clothes you can move in. Mobility needs and injuries will be accommodated and will not disadvantage casting. Audition Registration: No booking details listed. Enquiries and backing tracks can be emailed to john@johndacruz.com.au Audition Pack: https://tinyurl.com/2vyua4ss Performance Dates: 31 July - 16 August Performance and Rehearsal Location: Mousetrap Theatre, 157 Sutton Street, Redcliffe Rehearsal Times: Tuesday and Thursday evenings, and Sundays Warnings: Themes include mental health, anxiety, depression Performer Age: Cast members must be a minimum of 15 years old and no older than 40 at the time of audition. Creative Team: Written and Directed by John Da Cruz Production Website:https://mousetraptheatre.asn.au/auditions.html Other information: Successful auditionees are required to become members of Mousetrap Theatre. Membership is due no later than 2 weeks after accepting a role. Available Roles/Character Breakdown: Alice — Stage age 16–18, female, soprano. Curious, overwhelmed, and quietly resilient. A modern teenager learning to navigate uncertainty and find balance within herself. Brief kiss required. Mad Hatter — Stage age 19–30, male, high baritone. Cunning, charismatic, brilliant, unpredictable, and dangerously persuasive. Queen of Hearts — Stage age 20–30, female, soprano. Regal and commanding, believing strength lies in emotional control. Knave of Hearts — Stage age 17–22, male, tenor. Loyal servant who begins questioning his identity. Brief kiss required. The Cheshire Kat — Stage age 19–30, female, alto/mezzo soprano. Sultry, confident, perceptive, and challenging. White Rabbit — Stage age 15–30, any gender, flexible voice. Kind and avuncular, still hoping Wonderland can change. The March Hare — Stage age 20–30, any gender, flexible voice. Loyal confidant to the Mad Hatter; chaotic but with moral scruples. Ace of Spades — Stage age 15–19, female, flexible voice. Young page to the Knave with an unrequited crush; eager but accident-prone. Trilby, Panama, and Beret — Stage age 17–25, female, flexible voices. Hatter’s bodyguards and dancers. Tweedle-Dee and Tweedle-Dum — Stage age 15–30, any gender, baritone/tenor/flexible voices. Once playful figures, now dark heralds of the Jabberwock. The King of Hearts — Stage age 20–30, male, baritone. Gentle and kind, softening the Queen’s ruthlessness. Ensemble — Multiple roles, ages 15–40, any gender presentation and any voice type.

Title: Shrek The Musical Presented By: Limestone Revue Genre: Musical Theatre Synopsis: Shrek The Musical follows Shrek, a grumpy green ogre who lives alone in his swamp until his home is overrun by exiled fairytale creatures. To reclaim his peace, Shrek sets out on a quest to rescue Princess Fiona for Lord Farquaad. Along the way, he is joined by the endlessly chatty Donkey and discovers that love, friendship and heroism can come in unexpected forms. Audition Date: Video auditions In-person auditions available at the Limestone Open Day on 13 June Audition Location: In-person audition option: North Ipswich Scout and Guide Hut Audition Requirements: Submit a video including: Your name Your age Whether you are a Scout/Guide The character you are auditioning for, if applicable A musical theatre song of your choice The song may be from Shrek The Musical. It is not necessary to audition for a specific character, but performers are encouraged to have a go. Audition Registration: Email video auditions to revue@moreton.scoutsqld.com.au Application Form: https://forms.gle/HVtc6ArooPtvfB1e6 Audition Pack: https://limestonerevue.wordpress.com/cast-sign-on/ Performance Dates: 1–3 October Performance Location: Ipswich State High School Performing Arts Building, 1 Hunter Street, Brassall Rehearsal Times: Sundays and character-related Tuesday nights Rehearsal Location: North Ipswich Scout Den Performer Age: 8-30 (confirm with Limestone) Production Website: https://limestonerevue.wordpress.com/cast-sign-on/ Other information: Limestone Revue is a free activity this season Cast and crew who are able are asked to support fundraising events throughout the season Digital scripts and rehearsal materials will be used Any physical materials must be returned at the end of the season due to licensing compliance Enquiries: revue@moreton.scoutsqld.com.au Available Roles/Character Breakdown: Shrek – Range A2–G#4 - A grumpy ogre who lives alone in his swamp. Initially isolated and defensive, he gradually reveals his layers and becomes the hero of the story. Fiona – Range F3–G5 - Princess of Far Far Away. Quirky, blunt and talented, she transforms into an ogre at night and is not an ordinary princess. Donkey – Range C3–B4 - A talkative, optimistic donkey who joins Shrek’s journey and becomes his unlikely friend. Lord Farquaad – Range B2–D5 - The comically short and ruthless ruler of Duloc. Self-absorbed, lonely and cruel, with strong comic potential. Dragon – Range F3–Eb5 - Imposing and flirtatious dragon guarding Princess Fiona. Eventually falls in love with Donkey. Gingy – Range B3–C#5 - A witty gingerbread man who inspires the fairytale creatures. Puppet role, potentially operated by the performer playing Sugar Plum Fairy. Pinocchio – Range E3–F#4 - Leader of the fairytale creatures. Animated, sassy and prone to lying. Ensemble - A large range of fairytale creatures and featured ensemble roles, with many opportunities for solo lines and character moments.

Title: Roald Dahl’s Matilda JR. Presented By: Brisbane Junior Theatre (BJT) Genre: Junior Musical Theatre Synopsis: Matilda JR. follows the story of Matilda, a clever young girl with an extraordinary imagination and a love of learning. Misunderstood by her parents but encouraged by her caring teacher Miss Honey, Matilda faces the terrifying Miss Trunchbull and discovers the courage to stand up for herself and others. Packed with energetic songs, humour and heart, the show celebrates bravery, creativity and the power of young voices. Audition Date: Saturday 20 June 2026 Audition Time: 1:00pm – 4:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Audition Requirements: Perform a song Participate in a dance audition Memorise and perform a monologue with characterisation Younger children may prepare only a sentence or two instead of a full monologue Auditions are required for: Lead roles Minor roles Featured dancers Soloists Everyone who auditions will be included in the cast Audition Registration: Registration available via the website Audition Pack: https://brisbanejuniortheatre.com.au/performances/matilda-jr-july-2026/ Performance Dates: Friday 3 July 2026 and Saturday 4 July 2026 Performance Times: Friday: 6:00pm & 8:00pm and Saturday: 12:00pm & 2:00pm Performance Location: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Rehearsal Dates: 29 June – 3 July 2026 Rehearsal Times: Monday to Friday, 8:30am – 5:00pm Performer Age: Children and youth performers Production Website: https://brisbanejuniortheatre.com.au/performances/matilda-jr-july-2026/ Other information: Wheelchair accessible venue BJT productions operate on a “Show in a Week” rehearsal model An optional Audition Intensive Workshop will be held on Saturday 13 June 2026 from 12:00pm – 3:00pm at Emerge Church Upstairs Studio Intensive cost: $50 Workshop covers audition skills including monologues, singing, movement, accents, characterisation and performance technique with individual feedback provided Available Roles/Character Breakdown: Matilda Wormwood - The hero of the show. She’s brilliant, resilient, creative, and kind, despite growing up in difficult circumstances. Her parents treat her poorly, but Matilda escapes into a world of books, which puts her reading level far above the other children in her class, and she develops a bit of magical power in an effort to defeat Trunchbull. Vocal range: Bb3 - D5 Bruce - One of Matilda’s schoolmates. He has the bad luck to get caught after eating Trunchbull’s cake. Bruce goes through quite a transformation throughout the show and has some important solos. Vocal range: C3 - F#4 Lavender - One of the kids at school with Matilda. She is kind and bright and quickly decides that Matilda is her best friend. Vocal range: C4 - D5 Mr. Wormwood - Matilda’s father. He is egotistical, rude, and not very bright, not to mention a liar. Though Mr. Wormwood is not a good person and he is mean to Matilda, his harebrained schemes can be hilariously funny! Mrs. Wormwood - Matilda’s mother. Like her husband, she dislikes Matilda and does not understand why her daughter loves to read. Mrs. Wormwood is selfish, obsessed with her own appearance, and believes everything she sees on TV. Her dancing lessons with Rudolpho are the most important part of her day. Michael - Matilda’s brother. He is not very bright, though he is the apple of his father’s eye. This is a hilarious supporting role for a silly actor! Miss Honey - A teacher at Matilda’s school. She is kind, is generous, and really cares about the children despite her own desperate circumstances. Vocal top: Bb3 - D5 Agatha Trunchbull - The quintessential terrifying tyrant. As headmistress, she runs her school like a dictator, making up arbitrary rules to suit her every whim and dreaming up creative punishments. Vocal range: C4 - F#5 Rudolpho - Mrs. Wormwood’s self-obsessed dance teacher. This is a hilarious featured role for a comedic performer who moves well. Ensemble - Ensemble roles include Russians, Matilda’s Classmates, Mums, Dads, the School Cook, and the Mechanic.

Title: All I Want for Christmas Presented By: Lind Theatre Genre: Comedy / Christmas Play Synopsis: On Christmas Eve, a desperate father walks into a gift and toy store searching for his daughter and takes the remaining customers hostage. With police involvement, family tensions, unexpected helpers and plenty of chaos, All I Want for Christmas is a festive comedy about strangers caught together in a crisis. Audition Date: 15 & 16 July 2026 Audition Time: 6:30pm Audition Location and Address: The Lind Theatre, 16 Mitchell Street, Nambour Audition Registration: Contact Cec Rebetzke: 0411 044 452 or cecwr45@hotmail.com Performance Dates: 23–31 October 2026 Performance Location: The Lind Theatre, 16 Mitchell Street, Nambour Production Website: The Lind Theatre Auditions Available Roles/Character Breakdown: Dusty Peters (30–40) Sales clerk in his mother’s gift/toy store. Bran Haste (20–30) Single ladies’ man working at the store in a Santa outfit until his acting career takes off. Maggie Grant (20–30) Attractive but intimidating licensed vet technician with horrible taste in men. Howard Concord (35–40s) Mailman whose wife has left him and taken their ten-year-old daughter. Linda Applebee (35+) Self-absorbed socialite who looks younger than her age. Requires a good singing voice. Alvin Applebee (10 years old) Linda’s son. Spoiled, smart-alecky and loves robots and trains. Wilma Peters (60+) Dusty’s mother and owner of the gift store. Frugal. Doug O’Brien (40+) Police Chief who would rather be spending a quiet Christmas Eve at home. Alex Camerun (Male or Female, 25+) Young, eager detective keen to impress the Chief during a crisis. Jessica Concord (9–10 years old) Howard’s daughter. Loves model trains and her father. Minor role. Voice Roles: Radio DJ and Alice Concord, Howard’s soon-to-be ex-wife.

Title: Women in Uniform Presented By: Coolum Theatre Players Genre: Comedy / Musical Theatre / Ensemble Theatre Synopsis: Set in a remote all-women army barracks of the United Nations Peace Keeping Forces, Women in Uniform follows a rag-tag group of quirky, mismatched female soldiers stationed at Camp Firebird. Tasked with staging a morale-boosting Parade Drill to impress a visiting general, the group quickly finds things spiralling into a chaotic variety show while navigating military mishaps, personal dramas and the absurdity of army life. Audition Dates and Times: Sunday 12 July: 2:00pm or 4:00pm Wednesday 15 July: 6:30pm Callbacks, if required: Sunday 19 July at 1:00pm at Rory Williamson School of Dance. Audition Location and Address: Sunday auditions: Rory Williamson School of Dance, 12 William Street, Coolum Beach Wednesday audition: Coolum Civic Centre, Park Street, Coolum Beach Audition Requirements: All auditionees will be taught a song excerpt and choreography, then perform in groups. Speaking role auditionees should familiarise themselves with provided script excerpts. Solo singing role auditionees should prepare a maximum 2-minute song excerpt with backing track. Wear comfortable shoes suitable for dancing. No thongs or bare feet. Audition Registration: Book an audition time Enquiries: linda@gefken.com.au Audition Pack: Audition Requirements and Information Cast List and Voice Ranges Audition Script Excerpts Draft Script Audition Form and Participation Conditions Performance Dates: 20, 21, 22, 27, 28 and 29 November 2026 Possible additional performance Saturday 28 November at 7:30pm and possible preview Sunday 15 November at 2:00pm. Performance Location: Coolum Civic Centre, Park Street, Coolum Beach Rehearsal Times: Commencing Wednesday 2 September 2026 Wednesday evenings: 6:30pm–9:30pm Sunday afternoons/evenings: 4:00pm–8:00pm Monday evenings may be added from October if required. Compulsory tech/dress rehearsals: Saturday 14 and Sunday 15 November, 9:00am–5:00pm Compulsory mid-run rehearsal: Wednesday 25 November Rehearsal Location: Wednesday rehearsals: Coolum Civic Centre, Park Street, Coolum Beach Sunday rehearsals: Rory Williamson School of Dance, 12 William Street, Coolum Beach Creative Team: Director: Linda Gefken, Writers: Liza Burgess and Linda Gefken Production Website: https://coolumtheatre.com.au/auditions/ Other information: All cast sing and dance in the ensemble. Cast size expected to be 16–20. All cast and crew must become financial members of Coolum Theatre Players ($15). Cast must provide black, flat lace-up boots. No roles are paid. Stage, tech crew and front of house volunteers are also sought. Auditions will be videoed for the director’s reference. Production contains military comedy, personal drama and references to domestic violence, mental health, prison/ex-con experience and army life. Available Roles/Character Breakdown: Sergeant “Mac” MacDonald (30+) - Tough but fair leader of Camp Firebird. Dry wit, hidden warmth and a soft spot for Luna. Small solos and duets. Corporal Morgan Schmidt (25+) - Over-organised logistics perfectionist who tries to control the chaos. Fancies herself as an opera singer. Small solos. Private Luna “Tick” Bell (18+) - Spacey dreamer and wannabe star. Creative, scrappy and impulsive. Small solos and duets. Private Dana “Kapow” Gregory (25+) - Heavily tattooed ex-con and pyromaniac turned explosives and camouflage specialist. Explosive temper and deep distrust. Small solos. Private Francis “Frankie” Thomas (25+) - Sarcastic, loyal Corps mechanic with a heart of gold. Misses her wife and daughter. Small solos. Private Ellie Rogers (18+)Sweet, shy and seemingly unsuited to army life. A wallflower with a surprising poetic side and powerful voice. Two large solos plus small solos. Private Barb “Barbara Anne” Bateman (18+) - Optimistic team player and 1950s fanatic. A domestic violence survivor finding strength through friendship. Small solos and duets. Private Patty Pink (18+) - Outrageously bizarre, joyful and pink-obsessed misfit with dry wit. Non-singing speaking role. Private Rachael “Posh Spice” Fortescue-Spencer (18+) - Upper-class British, snobbish, wordy and neurodivergent. Hygiene-focused and proud of her family history. Small solos. Private Yasmin “Whiner” Winehouse (25+) - Amy Winehouse-inspired character who claims to have been a backing singer but cannot sing. Whingey, whiny and a little dim. Non-singing speaking role. Commander Jane Ironwood (40+) - Cold, no-nonsense commanding officer of Camp Firebird. Secretly supports the women. One duet. General Gloria Mallory (50+) - Brutal, straight-arrow U.N. General with a hidden theatre-kid past and surprising softer side. One solo, dancer. Additional Ensemble - Other members of the Firebird Corps and the General’s entourage.