Title: The First Night (of the One Day of the Year) Presented By: Ad Astra Theatre Company Genre: Satirical Comedy / Farce Synopsis: Adelaide, 1960. The Cold War is in full swing, Australian culture is still heavily shaped by overseas influence, and Alan Seymour’s controversial play The One Day of the Year is preparing for its world premiere. After the Adelaide Festival withdraws the production over fears that its criticism of Anzac Day may offend returned servicemen, an amateur theatre company decides to stage it instead. What follows is a fictionalised version of opening night, inspired by real events. With cast romances, bomb threats, censorship, missing actors, ASIO operatives, bureaucratic interference, audience distractions, and a vice squad investigation all threatening the performance, the company must somehow keep the production alive. The First Night is a farcical comedy about Australian storytelling, cultural cringe, political pressure, amateur theatre, and the determination to ensure the show goes on. Audition Date: Sunday 16 August 2026 Audition Time: 11:00am–2:00pm Audition Location and Address: Ad Astra – Pluto, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a comedic monologue between one and three minutes in length. Auditionees should also be prepared to participate in a cold reading from the script. Audition Registration: Apply by emailing creatives@adastracreativity.com Please include: A recent headshot A current CV in Word or Google Docs format The role for which you are applying Performance Dates: 5–21 November 2026 The season may be extended by one additional week. Performance Times: Thursdays: 7:30pm, Fridays: 7:30pm, Saturdays: 2:00pm and 7:30pm Performance Location: Ad Astra – Pluto, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: Mondays, Wednesdays, and Saturdays Rehearsal Times: Mondays: 6:30pm–9:30pm, Wednesdays: 6:30pm–9:30pm, Saturdays: 11:00am–5:00pm Rehearsal days and times may be adjusted around cast and crew availability. Warnings: Mild staged intimacy for the role of Tony References to bomb threats, political surveillance, censorship, war commemoration, and anti-Communist investigations Period attitudes and language associated with 1960 Australia Performer Age: Adult performers Creative Team: Director: Nathaniel Currie Other information: This is a co-op production. Cast and crew will receive a share of ticket sales after expenses. Callbacks will be held on Monday 18 August 2026 from 6:30pm–8:30pm. Enquiries and applications should be sent to creatives@adastracreativity.com. Available Role/Character Breakdown: Tony Playing age: Mid-20s to mid-30s A charismatic and relatable leading character with strong stage presence. Tony is optimistic, romantic, grounded, and approachable. State-educated and down-to-earth, he represents an Australian “everyman” whose warmth and authenticity make him easy to connect with. The role requires: Excellent comedic timing Strong physical performance skills The ability to balance farce with genuine emotional depth Confidence carrying a leading role Mild staged intimacy with Coral, the production’s leading lady

Title: Dog on a Tucker Box Presented By: Underground Theatre - University of Queensland Drama Society Genre: Coming-of-Age Drama / Magical Realism Synopsis: Set in rural New South Wales during the mid-1990s, Dog on a Tucker Box follows 17-year-old Mikey Windsor, a teenager who feels out of place in the small town of Gundagai. After a bizarre encounter with a genuine UFO, a mysterious new student named Amelia arrives at school. Convinced the events are connected, Mikey forms an unlikely friendship with Amelia as the pair challenge each other to grow and change. Combining realism with absurdism, the play tells a touching story about friendship, identity, and change. Audition Date: Tuesday 18 August 2026 Audition Location and Address: University of Queensland Campus Audition Registration: Applications close Friday 14 August 2026 at 11:59pm. Performance Dates: 21–24 October 2026 Performance Location: Geoffrey Rush Studio, University of Queensland Rehearsal Dates: Table Read & First Production Meeting: Sunday 23 August 2026 Rehearsals commence: Monday 24 August 2026 Bump In/Technical Rehearsal: Tuesday 20 October 2026 Creative Team: Writer: Cullyn Beckton Production Website: https://www.undergroundtheatre.net/

Title: Going Postal Presented By: Brisbane Arts Theatre Genre: Fantasy Comedy Synopsis: Based on Terry Pratchett's Discworld novel and adapted for the stage by Stephen Briggs, Going Postal follows the charismatic conman Moist von Lipwig, who is sentenced to death for his crimes—only to find himself unexpectedly offered a second chance. Appointed the new Postmaster of the dilapidated Ankh-Morpork Post Office, Moist is tasked with reviving a long-forgotten institution while navigating a city filled with eccentric personalities. Along the way he encounters the ancient, the obsessive, the cunning, the undead, sentient golems, and even finds romance as he attempts to restore the postal service to its former glory. Audition Date: Sunday 23 August 2026 Audition Time: One-hour workshop sessions between 10:00am and 4:00pm Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: Prepare a 1–2 minute comedic monologue. Auditions will take place in a workshop format with groups of up to 10 performers. Callbacks (by invitation only) will consist of: Cold readings from the script A short movement workshop Wear comfortable clothing suitable for movement. Audition Registration: Register via the Brisbane Arts Theatre website. Audition Pack: https://artstheatre.com.au/wp-content/uploads/2026/08/Going-Postal-Audition-Pack-1.1.pdf Performance Dates: 29 October – 7 November 2026 Performance Times: Thursday evenings Friday evenings Saturday matinee Saturday evening Performance Location: Arcana, 46 Evesham Street, Moorooka QLD 4105 Rehearsal Dates: 24 August – 28 October 2026 Regular rehearsals: Sundays Mondays Wednesdays Technical rehearsals: Monday 26 October Tuesday 27 October Wednesday 28 October Rehearsal Times: Sundays: 12:00pm–6:00pm Mondays: 6:00pm–9:30pm Wednesdays: 6:00pm–9:30pm Technical rehearsals: Monday: 9:00am–10:00pm Tuesday & Wednesday: 6:00pm–10:00pm Performer Age: 18+ Creative Team: Directors: Ben Kasper & Frances Foo Production Website: https://artstheatre.com.au/events/auditions-going-postal/ Other information: Callbacks will be held on Monday 24 August 2026. Auditions are open to performers of all genders, abilities, backgrounds and ethnicities. Successful performers must become financial members of Brisbane Arts Theatre if not already members. Membership costs $40 and is valid for 12 months. Cast members must be available for all technical rehearsals and performances. Enquiries: postal26@artstheatre.com.au Available Roles/Character Breakdown: Moist von Lipwig (Alfred Spangler): A charming, smooth-talking con man forced by Lord Vetinari to revive the dead postal system instead of facing execution. He uses his criminal mind to manipulate public systems for good. Adora Belle Dearheart: A sharp-tongued, chain-smoking woman with a deep grudge against the grand semaphore company; she becomes Moist's sharp-witted romantic interest and moral compass. Reacher Gilt: The ruthless, gold-tooth-wearing head of the Grand Trunk Semaphore Company. He represents corrupt corporate greed and treats communication lines like a violent pirate game. Tolliver Groat: An aging, eccentric junior postmaster who is a walking medical disaster and survivor of the old postal office era. Stanley Howler: A quirky, obsessive stamp- and pin-collecting enthusiast whose fragile mind hides a surprisingly intense passion for sorting mail. Mr. Pump: A massive, literal-minded Golem programmed to watch Moist and ensure he stays alive and honest. Lord Havelock Vetinari: The cynical, brilliant Patrician of Ankh-Morpork who masterminds Moist's forced rehabilitation. Sacharissa Cripslock: A young, ambitious journalist for the Ankh-Morpork Times who helps expose corruption and publicize the revived post office.

Title: The Paige Turner Bookshop Presented By: Play on Stage Genre: Original Youth Play / Family Theatre Synopsis: When six young people visit the new neighbourhood bookshop run by the mysterious Miss Paige, all they are looking for is a good read. What they find within those walls are stories they could never expect. Written by Harry Fritsch and directed by Virag Dombay, The Paige Turner Bookshop is a new original Brisbane youth play about the power of books and how stories can help us find meaning in our lives. Filled with heart, humour, warmth, emotional depth and just a dash of magic, this production is sure to surprise and delight every member of the family. Audition Date: Wednesday 12 August 2026 (Ekka Public Holiday) Audition Time: 9:00am–9:30am 9:30am–10:00am 10:00am–10:30am 10:30am–11:00am Audition Location and Address: 97 Fernberg Road, Paddington QLD 4064 Audition Requirements: Arrive 10 minutes prior to your scheduled audition time. Complete the official audition form before attending. Check your availability against the rehearsal and performance schedule. Submit your completed audition form, including your first, second and third preferred audition time slots. Be prepared to read from the script if requested. Audition Registration: Complete and submit the official audition form and submit HERE. Performance Dates: 17-25 October 2026 Performance Times: 10:30AM & 7PM Performance Location: The Enoggera Performing Arts Centre (EPAC), 52 Laurel St, Enoggera Rehearsal Dates: Weekly Wednesday evening rehearsals, with additional Monday and Tuesday rehearsals during the school holidays, plus selected additional rehearsal dates as required. Rehearsal Location: 97 Fernberg Road, Paddington QLD 4064 Performer Age: Adults (18+) Teenagers Children Creative Team: Playwright - Harry Fritsch Director - Virag Dombay Production Website: Play on Stage - The Paige Turner Bookshop Other information: This is a professional production. All young performers cast in the production will be paid. Auditionees are encouraged to carefully review the rehearsal schedule before submitting their audition form. Please arrive early to complete check-in and availability confirmation before your audition. Available Roles/Character Breakdown: Miss Paige (Adult Female) - A mysterious yet charming bookshop owner determined to finish a book for which she only possesses the final chapter. Kaiden (Teenage Male) - Rosie's older brother. A hopeless romantic who struggles to communicate his feelings. Georgia (Teenage Female) - An aspiring author and devoted fan of romantasy novels. Rosie (Child Female) - Kaiden's younger sister, vice-captain of her school's Under-12 girls' soccer team who loves reading soccer-themed manga. Robin (Child – Female or Male) - A curious child obsessed with explosives and scientific experiments that create as much chaos as possible. Jude (Child – Female or Male) - A hardworking, academically focused student who spends most of their time studying. Chelsea (Child Female) - A quiet young girl who prefers to lose herself in the worlds found within books.

Dracula Presented by: BIG Live (Ballet International Gala Live) Venue: Lyric Theatre, QPAC Date Attended: 29 July 2026 Choreographer: Joel Burke Director: Khalid Tarabay Original Music: Jason Fernandez and Toby Alexander Set Designer: Martin Thomas Costume Designers: Sophia Drakos and Fiona Holley Lighting Designer: Steven May Photography: Andre Uspenski Small spoilers ahead. BIG Live’s Dracula is for anyone who thinks ballet could use a bit more bite. Joel Burke’s production sinks its teeth in and draws out every drop of theatre it can find - gothic romance, supernatural spectacle, punishing choreography, and enough dramatic cape work to make Elphaba green with envy. It’s easily the most dramatic ballet I’ve seen. Anyone expecting a page-by-page retelling of Bram Stoker’s story may need to loosen their corset... The novel unfolds through letters, journals, and testimonies, which isn’t particularly helpful when nobody onstage is allowed to speak. Burke creates something quite different. I’d say it’s more like a vampire version of Phantom meets Romeo and Juliet, with a dash of Rocky Horror sneaking around in the shadows. The story begins centuries before the Harkers decide to vacation in Transylvania. Vlad, a formidable warrior, returns from battle to discover that his wife has been offed by the enemy. In his grief, he sells his soul and turns into Dracula. Overreaction much? Fast forward two hundred years, and newlyweds Jonathan and Mina Harker are gifted a honeymoon at the Count’s castle. It’s a thoughtful gesture, right? Apart from the ghosts, imprisonment, vampirism, and eventual massacre... The first act begins in considerably sweeter territory. Wedding guests resemble the porcelain dolls from my childhood brought to life, dressed in pale pastels and dainty bonnets, while dashing gents in tails twirl them around the stage. The corps creates a picture of Victorian happiness, blissfully unaware that the evening is heading towards bloodshed. Once the familiar organ chords of Bach’s Toccata and Fugue in D Minor begin, murmurs of happy recognition ripple through the audience. Martin Thomas’ set is a gothic beauty, with painted backdrops, dramatic archways, stained-glass windows, and physical scenery. There are no projections pretending to be walls here. The castle dominates the QPAC Lyric Theatre stage, and the twilight (yeah, I went there) pouring through the stained glass is one of the show's loveliest images. Steven May’s lighting shifts between cold moonlight, blinding white, violent red, and softer washes for the human scenes. Dracula can appear or disappear in a breath, while the supernatural stagecraft remains hidden enough to preserve the magic. Sophia Drakos and Fiona Holley’s costumes are the secret sauce of the storytelling. The designs retain their period detail while allowing the dancers to move freely through demanding choreography. The ghosts wear weathered grey-white fabrics and long pale wigs, giving them a wonderfully dramatic 'Mother of Dragons' appearance. They bourrée across the stage en pointe, weave around one another in exact formations, and attack each sequence with control. Much of their choreography depends on perfect timing. These scenes appear among the most physically demanding in the production, yet the dancers maintain their eerie synchronicity while giving each ghost her own threatening presence. The choreography asks an enormous amount of its principal dancers. Naturally, Dracula is the epitome of melodrama. Ervin Zagidullan stalks through the castle with a winged cape billowing behind him. Zagidullan moves as though the normal rules of the stage don’t apply to him. He glides like an ice dancer, then launches into the air with the power of a gymnast. He folds inward through tortured phrases to reveal the grief that created the monster. With no dialogue, every look and gesture must do serious work. Zagidullan gives Dracula command, danger, seduction, and despair. Yet, when he sees Mina and mistakes her for his dead wife, we witness a flicker of humanity peeking through. Abbey Hansen as Mina initially brings beautiful warmth, which gradually grows into extreme fear. At the wedding, she flits around with the excitement of a new bride. Inside the castle, her resistance emerges as Dracula’s control closes around her. During their second-act pas de deux to Lacrimosa, Hansen's terror is so apparent that it can be seen from the back of the stalls. She is pulled, lifted, twisted, and carried through challenging combinations, appearing weightless in Dracula's grasp. Hansen's emotional clarity ensures that the beauty of the movement never obscures Mina's horror though. The dancer portraying Jonathan Harker at my performance was a spinning sensation - like he had wheels on his feet! His movements begin with the strength of a romantic lead, then grows frenzied and animalistic after Dracula transforms him. The encounter between Jonathan and Dracula becomes a pas de deux, stage combat, and a supernatural dance-off. They match each other move for move in an epic battle, all set to the thundering force of Dies Irae. Mina and Jonathan’s honeymoon pas de deux unfolds to Clair de Lune (because apparently all vampires are Debussy fans). It’s tender, with the newlyweds moving through the castle in their own private world. But, surprise, surprise, their romantic escapade gets cut short. Cue the spooky strings, harp, organ, and winds crashing the party, effectively putting a damper on Mina and Jonathan’s steamy moment. Enter the ghostly brides, who emerge from the castle and torment the couple through some of the production’s most imaginative choreography. The four ghostly bridal ballerinas unleash a ferocious second-act performance, shifting from elegant lines to predatory attacks. The climax is a whirlwind of flight, combat, blood, sorrow, and sacrifice that had the audience around me gasping. That audience response says a great deal about how well the storytelling works. Ballet can sometimes feel a bit distant for those who aren't fluent in its silent language. But Dracula keeps its central emotions and themes clear (at least to me) through its movement, music, and visual storytelling. During the break, I overheard someone confess, “I usually get bored during ballets,”with the clear implication that this one had them completely gripped. Joel Burke’s choreography is rooted in classical technique and driven by theatrical momentum. Original compositions by Jason Fernandez and Toby Alexander are woven through familiar repertoire, including Clair de Lune, Liebestraum, Isle of the Dead, Dies Irae, and Lacrimosa. The softer pieces carry tenderness and yearning, while the darker works bring weight to Dracula’s dark world. The theatrical effects add another layer of drama. Dracula vanishes through perfectly timed lighting, writhes in the sunlight, and defies gravity to fly like a bat. These effects are woven into the choreography, and the audience reacts every time somebody starts levitating. I'm a sucker for stage magic, and this ballet knows when to use it for maximum effect. There are moments when the plot moves quickly enough to challenge anyone who skipped reading the synopsis. Seriously, learning the summary before the performance will help, especially since this adaptation travels far from Bram Stoker’s original plot. Burke’s reimagining gives the ballet its own identity, using familiar Dracula lore to explore grief, obsession, doomed love, and darkness. It finds fresh visual possibilities within a story that has already been adapted countless times. BIG Live’s Dracula gives regular ballet audiences plenty to admire, while luring newcomers with a gripping introduction to classical dance. I especially recommend it for those who enjoy a bit of gothic drama, horror, fantasy, or anyone who thinks ballet could use a few more vampires.

Title: Morning Melodies Touring Presented By: Stage Queensland Genre: Morning Melodies Concert Series / Live Music Touring Program Synopsis: Morning Melodies Touring is a statewide touring initiative presented by Stage Queensland, bringing high-quality live music performances to regional and metropolitan venues across Queensland. Featuring Australia's leading tribute artists, cabaret performers and entertainers, the program offers engaging daytime concerts designed primarily for senior audiences, while remaining enjoyable for music lovers of all ages. The 2026 season includes tributes to iconic artists and musical eras, with performances touring to participating venues throughout Queensland. Application Date: Applications close 11:59PM, August 10th, 2026 Application Requirements: Include the following information in the Morning Melodies application form Show details (name of show, synopsis, duration) Performer details (number of performers, their roles e.g. singer, piano player) Production images Song list Links to video footage if available Tech specs (LX & sound requirements, bump-in / out times, what gear you will tour with, what the venue needs to provide etc.) Reviews and history of performance (where else you have performed) Marketing materials to be provided Details of any value-ads such as “meet the performers” Fully-delivered performance fee details (includes costs of travel and accommodation and provision of raw marketing materials) Available / preferred dates Contact details Registration: Morning Melodies Application Form Application Pack: Morning Melodies Application Pack Performance Dates: Touring throughout Queensland during 2026. Individual performance dates vary by venue. Performance Times: Morning performances (times vary by venue). Performance Location: Participating performing arts centres and theatres throughout Queensland. Warnings: Suitable for general audiences. Individual venues may utilise standard theatrical lighting, haze or smoke effects where applicable. Performer Age: Professional adult performers. Creative Team: Presented and coordinated by Stage Queensland in partnership with participating Queensland venues. Production Website: Stage Queensland - Morning Melodies Touring Other information: Designed to bring affordable, professional live entertainment to communities across Queensland. Primarily presented as weekday morning performances. Many participating venues include complimentary morning tea with admission (venue dependent). Touring productions vary throughout the season and include tributes to artists such as The Seekers, Elton John, Michael Bublé, Tom Jones and Frankie Valli, among others. Available Roles/Character Breakdown: Not applicable. Morning Melodies Touring is a touring concert program featuring different professional performers, musicians and tribute artists depending on the production being presented at each venue.

Lovesong Presented by: All Entertainment Venue: PIP Theatre Date Attended: 31 July 2026 Writer: Abi Morgan Director: Harrison Allen Movement Director: Indiah Morris Lighting Designer: Noah Milne Composer: Hannah Page Pianist: Mattea Page Stage Manager: Megan Dale “The world changes, and you with it. It’s inevitable.” Forty years of marriage might seem enormous when you count all the anniversaries, birthdays, vacations, and major life decisions. Abi Morgan’s Lovesong measures it by the number of cups of tea shared, the chores that never end, those inside jokes, the squabbles, the TLC, and the annoyance of having someone permanently in your space. Directed by Harrison Allen, this production follows one couple at opposite ends of their life together. Anna-Rose Van Der Wiel and Connor Costin play Margaret and William in their younger years, while Nicky Whichelow and John Stibbard portray Maggie and Billy after four decades together. Both versions occupy the stage, observing, remembering, and occasionally reaching across time as their past and present selves overlap. It’s a beautiful premise with a great deal packed inside it. There are no villains, enormous revelations, or conveniently manufactured disasters. We’re watching the smaller moments that gradually become a marriage. The stage design immediately had me in awe. A peach blossom tree stretches above the space, surrounded by grass, ferns, and bright flowers. Lanterns hung among its branches, while the couple’s bedroom and kitchen sat within this indoor garden. Mattea Page was also visible at the piano, nestled among the greenery and incorporated into the world rather than hidden away as accompaniment. Within the home, small handwritten notes have been taped up, providing reminders for tasks like washing clothes and eating. The house embodies forty years of shared routines, while the surrounding garden lends the production a storybook ambiance. Imagery is projected onto the three bare walls, featuring literal birds or transitioning into dreamlike memories. This is further enhanced by Noah Milne’s lighting, Hannah Page’s composition, and the live piano/foley work. The production fittingly opens with young Margaret singing us a love song. Anna-Rose Van Der Wiel imbues Margaret with an excitable curiosity, whether she's discussing books, imagining their future, or trying to convince William of anything. There’s an immediate warmth to Van Der Wiel’s performance that makes Margaret extremely easy to like, even when she’s being stubborn or exasperated. Her enthusiasm gives the younger timeline much of its lightness, while she still allows the occasional storm clouds of disappointment and frustration to gather beneath that sunny exterior. Connor Costin as young William was playful, affectionate, and occasionally infuriating. His teasing gave their relationship plenty of warmth, while his drinking and flirtations exposed some of the selfishness Margaret had to handle. Costin managed to present these flaws without making William a character we would dislike. He was youthful, restless, and often uncertain about what would be enough to satisfy him in life. The question of children sits quietly inside their early years of marriage. Their infertility shapes their future, although the production doesn’t treat their life as empty. Margaret and William eventually build a life around their friendships, pets, reading, gardening, work, and one another. They spend their younger years globe-trotting and later return to those memories with affection. Side note: as someone very firmly positioned on the cat side of that children-vs-cat debate, I understood Margaret’s logic of wanting "something to take care of." Nicky Whichelow spent much of the production in pjs and a dressing gown, giving Maggie a physical vulnerability from the beginning. Her performance focused on subtle behaviours. She would frequently rub her head, fret over practical matters, and attempt to organise the end of her life while still managing Billy’s emotions. Her fear remained present, but so did her personality. Maggie didn’t become a symbol of illness. She remained the same intelligent, caring woman we had already met. John Stibbard as Billy portrayed a gentle, humorous, and quietly devastated character. He was there for Maggie, all the while carrying an anger he couldn’t comfortably place anywhere. She wanted him to prepare for life as a widower, but he had no interest in imagining a version of himself that continued without her. Stibbard initially managed this inner conflict with restraint, letting Billy’s frustration at the situation emerge through shifts in mood, tone, and attention. The chemistry between both couples was carefully developed. Van Der Wiel and Whichelow shared enough physical and emotional nuance to register as the same character, as did Costin and Stibbard. Their connection emerged through similar rhythms, accents, humour, and responses to their partner. Billy's teasing of Maggie created some of the production’s warmest moments. Across both timelines, Billy/William knew exactly how to irritate their partner, and exactly how far they could push before retreating. Harrison Allen’s direction moved comfortably between comedy and sorrow, finding plenty in both the challenges and joys of sharing a life with someone. Both couples encountered difficulties specific to their stage of life, while many of the arguments and compromises were immediately recognisable to anyone who has spent years in a partnership (or so I am told). There is a great deal the script never directly explains. We see selected fragments from forty years, then fill the spaces between them ourselves. That absence is part of what makes the story so affecting. We understand that there were thousands of breakfasts, arguments, reconciliations, illnesses, and restless evenings beyond those chosen for us to witness. Indiah Morris’ movement direction was essential to the production’s handling of time. The four actors moved around, through, and towards one another as the timelines collided. At times, a younger character would support or embrace their older counterpart. Elsewhere, one might appear to occupy the memory of the other. These sequences flowed naturally from the scenes, giving physical form to thoughts and histories that Abi Morgan leaves unspoken. Watching both timelines unfold together gives us two very different perspectives on the same marriage. It considers legacy, selflessness, ageing, and the reality of growing older while still carrying every previous version of yourself. This production approaches those ideas with imagination and considerable tenderness. Its visual world is adventurous, its performances invite plenty of empathy, and its humour prevents the play from sinking beneath its subject matter. It’s a portrait of a long relationship built from small, beautiful pieces.

Title: Nerdy Prudes Must Die Presented By: Midnight Social in co-production with PIP Theatre Genre: Musical / Teen Slasher Comedy / Horror Comedy Synopsis: From the creators of The Guy Who Didn’t Like Musicals and Black Friday, Nerdy Prudes Must Die follows a group of social outcasts at Hatchetfield High who accidentally complete an ancient evil ritual and unleash a furious supernatural spirit with one very specific grudge: nerds. As Stephanie Lauter, Grace Chasity, Peter Spankoffski, and their fellow “nerdy prudes” find themselves hunted by a bully from beyond the grave, they must somehow survive the increasingly bloody chaos consuming their school. Packed with dark comedy, horror, rock-infused musical theatre, teenage awkwardness, and the peculiar mythology of Hatchetfield, the show asks whether being yourself is worth dying for... possibly literally. Audition Date: Sunday 13 September 2026 – In-person shortlisted auditions Audition Self-Tape Due: Initial submissions are being accepted until the end of August 2026. Audition Requirements: First-round applicants should submit video material demonstrating: Singing: one pop/rock piece and one additional piece that best showcases vocal ability. Acting ability through existing performance footage, showreels, or a self-tape if preferred. Do not submit material from Nerdy Prudes Must Die. Shortlisted performers will be invited to an in-person audition on 13 September consisting of a solo music and dialogue audition and a choreography audition. Auditionees should register for both components. Please arrive 15 minutes early and bring a completed audition form, audition material, and clothing/shoes suitable for movement and dance. Audition Registration: Submit Your Audition Audition Pack: Download Audition Pack Performance Dates: 31 March – 17 April 2027 Performance Times: Wednesday 31 March – 6:30pm Preview Thursday 1 April – 7:30pm Opening Night Friday 2 April – 7:30pm Saturday 3 April – 2:00pm & 7:30pm Wednesday 7 April – 6:30pm Thursday 8 April – 7:30pm Friday 9 April – 7:30pm Saturday 10 April – 2:00pm & 7:30pm Wednesday 14 April – 6:30pm Thursday 15 April – 7:30pm Friday 16 April – 7:30pm Saturday 17 April – 2:00pm & 7:30pm Performance Location: PIP Theatre, 20 Park Road, Milton QLD 4064 Rehearsal Dates: Rehearsals commence January 2027 at PIP Theatre, 20 Park Road, Milton and MUSE Studio, 37 McDonald Road, Windsor Rehearsal Times: Sundays – 2:00pm–9:00pm Mondays – 6:00pm–10:00pm Wednesdays – 6:00pm–10:00pm Warnings: Simulated violence, adult language, sexual references, bullying, teen death, blood and gore, and the use of prop weapons. Intended for mature audiences. Creative Team: Director/Producer – Wayne McPhee Musical Director – Alex Angus Stage Manager – Al Brombeck Set Design – Brigitte Bennet Production Website: https://www.midnightsocial.com.au/nerdy-prudes-must-die Other information: This production will use a cast of 10 performers, with significant role doubling across the show. All cast members will receive an honorarium plus profit share. Callbacks, if required, will be held on Wednesday 16 September 2026. Performers may be called back for additional singing, dialogue, or choreography. Not receiving a callback does not necessarily mean an auditionee has not been cast. Midnight Social encourages applications from performers of all gender identities and expressions, sexual orientations, cultural backgrounds, ethnicities, ages, body types, and abilities, particularly LGBTQIA+ performers, First Nations artists, and culturally and linguistically diverse performers. Auditionees should clearly disclose availability and whether they are willing to be considered for ensemble, understudy, or alternate roles. Enquiries: amidnightsocial@gmail.com or wdmcphee83@gmail.com Available Roles/Character Breakdown: Max Jägerman Bari-Tenor / Rock Tenor Suggested Vocal Range: A2–C5 The king of Hatchetfield High. Max is the school’s star athlete, social icon, and most feared bully. Handsome, charismatic, physically intimidating, arrogant, competitive, and cruel, he maintains his status by keeping everyone else beneath him. After his death, he becomes the supernatural force driving the show’s chaos. Requires strong rock musical theatre vocals, natural charisma, physical confidence, comic timing, and the ability to be genuinely intimidating. Stephanie Lauter Mezzo-Soprano / Contemporary Belt Suggested Vocal Range: G3–D5 Popular, attractive, intelligent, and the daughter of Hatchetfield’s mayor, Stephanie appears to have everything but privately struggles with expectations from her family and peers. Thoughtful, empathetic, independent, and increasingly willing to reject the social role she has been assigned. Her growing connection with Pete becomes one of the emotional centres of the show. Requires strong contemporary vocals, emotional depth, charisma, vulnerability, and convincing chemistry with Peter. Also plays: Cast 3 Grace Chasity Mezzo-Soprano / Soprano Belt Suggested Vocal Range: A3–E5 A devout Christian and self-appointed guardian of morality at Hatchetfield High. Grace is intelligent, disciplined, earnest, socially awkward, intensely repressed, and utterly convinced that she is doing the right thing. As supernatural chaos forces her carefully controlled worldview to fracture, her behaviour becomes increasingly extreme and unpredictable. Requires excellent comic timing, strong acting, fearless commitment, sincerity, and the ability to make Grace’s darker transformation believable. Also plays: Cast 2 Peter Spankoffski High Baritone / Tenor Suggested Vocal Range: A2–B4 Intelligent, awkward, anxious, dryly funny, and painfully self-aware. Pete is a classic “nerdy prude” who has spent much of his school life trying not to attract attention. His developing relationship with Stephanie helps him discover confidence, self-worth, and courage. The role requires strong contemporary musical theatre vocals, emotional honesty, natural comic timing, vulnerability, and excellent chemistry with Stephanie. Also plays: Dan Reynolds, Cast 1 Ruth Fleming Alto / Mezzo-Soprano Character Voice Suggested Vocal Range: G3–D5 An unapologetically strange, enthusiastic, theatrical, and socially awkward outsider. Ruth embraces her quirks more readily than most of her friends, although beneath her confidence lies a genuine desire for connection and acceptance. She is imaginative, loyal, unfiltered, warm, and often unintentionally hilarious. Requires excellent comic timing, bold character work, ensemble awareness, and enough vulnerability to ensure the character never becomes merely a joke. Also plays: Donna Daggit, Emma Perkins, Blinky Richie Lipschitz Tenor / Character Tenor Suggested Vocal Range: B2–B4 A proud geek, anime fan, gamer, and member of Hatchetfield High’s nerdy outsider circle. Richie is enthusiastic, expressive, loyal, optimistic, socially awkward, and intensely passionate about the things he loves. He knows other students think he is weird, but unlike Pete, he is increasingly comfortable owning it. Requires high energy, excellent comic timing, strong ensemble instincts, emotional depth, and fearless commitment. Also plays: Reporter 1, Cast 4, Paul Matthews, Wiggly Detective Shapiro Track - Includes: Detective Shapiro, Nerd, Brenda, Reporter 2 Solomon Lauter Track - Includes: Cop, Jason, Solomon Lauter, Pokey Mark Chasity Track - Includes: Officer Bailey, Kyle, Mark Chasity, Announcer, Tinky Karen Chasity Track - Includes: Miss Mulberry, Nerd, Miss Tessburger, Karen Chasity, Stacey, Nibbly

Title: The Mysterious Disappearance Presented By: Footlights Theatrical Inc. Genre: Play / Mystery / Drama Synopsis: The Mysterious Disappearance by Kirt Shineman is not an Agatha Christie mystery, but a play about Agatha Christie. Set in Christie’s home in December 1975, the story finds the legendary author under pressure to finish her autobiography and final novel before the new year. But her mind keeps returning to 1926, when Nancy Neele stole the affections of her first husband, Archie. With the help of Mary Westmacott, Christie’s literary alter ego and a construct of her own mind, Agatha begins imagining what it might have been like to murder Nancy. When Nancy suddenly turns up dead, the pair begin investigating. But as Agatha moves increasingly between reality, memory, and fantasy, another mystery emerges: did she really kill Nancy, or is the thing truly disappearing Agatha’s own memory? The production explores Christie’s famous 1926 disappearance alongside her declining memory, aphasia, imagination, and extraordinary deductive mind. Audition Date: Wednesday 12 August 2026 Audition Time: 15-minute audition timeslots available by request. Audition Location and Address: Footlights Studio, 83 Roseneath Parade, Wynnum West QLD Audition Self-Tape Due (if applicable): Wednesday 12 August 2026 Video submissions are accepted. Auditionees may upload their monologue via Google Drive instead of attending in person. Ensure the link is accessible to anyone with the link. Audition Requirements: Prepare a one-minute monologue, either dramatic or comedic, from a contemporary play. Auditionees may either: Attend an in-person 15-minute audition timeslot; or Submit a recorded monologue via Google Drive. Callbacks will be held on Monday 17 August 2026 if required. Audition Registration: Complete the Audition Form Audition Pack: View the Audition Pack Performance Dates: Friday 9 October 2026 - Saturday 10 October 2026 Performance Location: Morningside School of Arts Rehearsal Dates: Rehearsals commence from 23 August 2026 and continue until bump-in on Monday 5 October 2026. Rehearsal Times: Tuesdays – 7:00pm–9:30pm Thursdays – 7:00pm–9:30pm Sundays – 2:00pm–5:00pm Rehearsals will initially be held at the Footlights rehearsal space in Wynnum West. From bump-in on 5 October, rehearsals will move to Morningside School of Arts. Warnings: Themes include memory loss, aphasia, murder, death, marital infidelity, and imagined violence. Performer Age: Adult performers. Playing ages range predominantly from 50+ to 80+ Creative Team: Director – Roslyn Johnson Production Website: Footlights Theatrical Auditions Other information: This production is being presented in partnership with Morningside School of Arts as part of its centenary celebrations. Footlights Theatrical has received a small grant from Brisbane City Council, allowing performers to receive a small honorarium. The production is also seeking 1–2 vocalists to perform Postmodern Jukebox-style song excerpts, adding atmosphere and helping connect the contemporary storytelling with the 1926 memory sequences. Available Roles/Character Breakdown: Dame Agatha Christie Female-presenting | Playing age 80+ The central role and rarely leaves the stage. Agatha is nearing the end of her career and beginning to experience aphasia and memory confusion. She moves seamlessly between reality, memory, and fantasy as the boundaries between them begin to dissolve. Her formidable intellect remains intact, but her ability to express herself is gradually diminishing, often without her awareness. Mary Westmacott Female-presenting | Playing age 80+ Agatha’s alter ego and a mental construct visible and audible only to Agatha. Mary gives Agatha a way to articulate memories, theories, and deductions. She knits, drinks tea, and represents the sharp deductive powers of Christie’s mind. A substantial role appearing in almost every scene. Rosalind Hicks Female-presenting | Playing age 50+ Agatha’s daughter from her first marriage to Archie Christie. Rosalind has stepped away from her legal practice in London to become her mother’s carer. Tony Hicks Male-presenting | Playing age 50+ Rosalind’s well-meaning and somewhat clumsy husband. Harry Maynard / Archie Christie / Billy Collins Male-presenting | One performer plays all three roles. Harry Maynard – An elderly man appearing only in the prologue. Archie Christie – Agatha’s first husband, appearing during flashbacks to 1926. Billy Collins – Agatha’s editor, appearing during fantasy and hallucination sequences in which Agatha repeatedly murders him. Vocalists – 1–2 performers Performers are sought to provide atmospheric Postmodern Jukebox-style song excerpts, connecting the play with its 1926 sequences and enhancing the event styling.

Footloose: Youth Edition Presented by: Communication in Action Venue: Talbot Theatre, Thomas Dixon Centre Date Attended: 1 August 2026 Director: Tim Hill Musical Director: Jacqui Devereux Choreographer: Justin Anderson Photography: By B'rit Creative “Honouring their memory by shutting out the world isn't working.” For a musical best known for dancing, denim, and Kenny Loggins, Footloose has a surprisingly serious point to make. Grief has settled over the small town of Bomont, and Reverend Shaw Moore’s response has been to tighten his grip on everyone around him. Dancing is banned, teenagers are curfewed, and having fun is viewed as a dangerous slope towards catastrophe. Then Ren McCormack arrives from Chicago, eager to shake things up with his energetic spirit and complete inability to stand still. Communication in Action’s Footloose brings together a cast spanning all school ages for a compact version of the musical, created in only five intensive rehearsals. At the centre of the production was Diesel Batson as Ren. He had the confidence of a natural leading performer, combining a strong singing voice with charming character, and sharp dance technique. He knew how to command the full stage, and “I Can’t Stand Still” gave him an early opportunity to show exactly what he could do, complete with agile vocal runs, playful acro, and some very cool dance moves. And his acting held up just as well when Ren stopped moving. His frustration at being judged by the town was convincing, and during “I’m Free,” his confrontation with Reverend Moore became so real that I briefly forgot I was watching two teenagers. Both performers found the anger and pain underneath the argument and really went for it. Henry Marsh carried himself with wonderful authority as Reverend Shaw, with rigid posture and a stern delivery that immediately established who was in charge. His voice was rich and secure, while his performance allowed glimpses of the frightened father behind the town leader. Rose Statham brought a powerful soul quality to Ariel’s vocals and plenty of fire to her rebellion. She was especially strong when Ariel pushed back against her father and the authority surrounding her. Statham and Batson also sounded lovely together in “Almost Paradise,” with well-matched tones and harmonies. Their quieter connection gave the show some breathing room between the larger company numbers. The production’s girls were consistently formidable. Ella Reynolds, Emily Carrick, and Lillian Wilson formed a very funny trio as Urleen, Wendy Jo, and Rusty. While several of the youngest performers supplied “Somebody’s Eyes” with an impressive amount of sass (I’m sorry, tiny scene-stealers, I don’t know your names). “Holding Out for a Hero” became a full girl-power showcase, driven by strong solo singing and choreography that gave performers across the group their own moments. Then Lillian Wilson arrived with “Let’s Hear It for the Boy” and attempted to remove the theatre’s roof. Wilson carried the number with extraordinary vocal confidence, producing a belt that would be impressive from an adult performer, let alone someone her age! Her Rusty was excitable and immensely likeable, which made her a great match for Archer Grounds’ equally enthusiastic Willard. Grounds embraced Willard’s awkwardness and broad comedy while keeping him endearing. Jolie Sainsbury felt completely natural as Ren’s mother, Ethel, bringing an easy warmth to the role. Dorothy Grounds also impressed as Vi Moore, particularly in “Can You Find It in Your Heart?” Her lovely vocal tone and controlled delivery made it one of the production’s quieter musical highlights, giving Vi a welcome moment of her own within the larger conflict between Shaw and Ariel. Among the supporting cast, Cooper Wolski made an impression as the Principal. That guy is destined to become either a school principal, a politician, or somebody who carries a clipboard and expects answers. His authority was startlingly convincing. Henry Woodward also used every second of the Coach’s limited stage time and absolutely made those few appearances count. Joshua Ngo gave Chuck an appropriately threatening edge, while Darci Allen, Bella Pietrobon, Bharathi Kumar, Saana Chang, and the remaining featured performers helped populate Bomont with distinct personalities. One of the strengths of this adaptation was just how many speaking and musical opportunities were spread throughout the ensemble. Tim Hill and Justin Anderson made smart use of the wide Talbot Theatre stage, creating formations that gave the large cast plenty of room to move. With so many bodies regularly flying around, there was always something to catch the eye. Jacqui Devereux’s musical preparation was equally apparent. The company harmonies were confident, particularly during the final “Footloose,” and the lead vocals remained secure despite the amount of movement involved. The finale brought the whole company together with partner work, strong harmonies, and the satisfying sense that Bomont had finally unclenched its collective jaw. Digital projections established each setting, moving between the church, school, diner, council meeting, and country dance hall. The screen became a useful visual anchor, while the open playing space allowed Anderson’s choreography to spread out. The audience rat run was also used to vary the blocking and bring parts of the action closer. Costumes immediately placed us in small-town America with denim, plaid, florals, and plenty of boots, while the American accents were remarkably consistent across such a wide range of ages. As I attended the dress rehearsal, my only performance note is very much a dress-rehearsal one. A few students could continue working on keeping their eye-lines lifted and their faces open to the audience. With so many performers sharing such a large stage, looking down or turning inward can make an individual disappear surprisingly quickly. Communication in Action’s young performers were remarkably disciplined. There were strong voices across the cast, standout dancers, and several young actors who already know exactly how to hold a stage. Footloose gave this enormous group of young performers plenty of room to show what they could do. By the final number, the stage was completely theirs, and they looked like they were having an absolute ball owning it.

Title: Away Presented By: Brisbane Arts Theatre Genre: Australian Drama Synopsis: Set during the summer holidays of 1968, Away follows three very different Australian families whose lives unexpectedly intersect while travelling along the Queensland coast. Tom, a warm and intelligent school student, is facing circumstances far beyond his years, while his devoted parents, Harry and Vic, try to protect him and make the most of their time together. Meg is beginning to challenge the expectations of her controlling mother, Gwen, while her father, Jim, attempts to keep the peace. Elsewhere, school principal Roy and his wife Coral are each struggling with profound grief following a family tragedy. As their separate journeys gradually converge, moments of humour, conflict and unexpected connection allow the characters to confront loss, rediscover hope and begin healing. Michael Gow’s enduring Australian play explores family, grief, love and the transformative power of compassion. Audition Date: Sunday 2 August 2026 Audition Time: 12:00pm–4:00pm Auditions will be held in one-hour workshop sessions, with up to ten performers in each group. Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: No prepared monologue is required. Auditions will be conducted in a relaxed workshop format and will consist of cold readings from the script. The production is seeking: Collaborative storytellers and team players Performers across a broad range of ages and experience levels New community-theatre participants Performers able to commit to the rehearsal and production period Performers of all genders, abilities, backgrounds and ethnicities are encouraged to audition. Audition Registration: Register for an audition session Audition Pack: Download the audition pack Performance Dates: Thursday 24 September 2026 - Friday 2 October 2026 Performance Location: C Block AuditoriumSouth Bank TAFE, 66 Ernest Street, South Brisbane QLD Rehearsal Dates: Rehearsals commence Wednesday 4 August 2026 and continue until Thursday 17 September 2026. Headshots: Sunday 23 August 2026 Production photos: Tuesday 25 August 2026 Bump-in: Saturday 19 September 2026 Technical rehearsals: Monday 21–Wednesday 23 September 2026 Bump-out: Friday 2 October 2026 following the final performance Rehearsal Times: Wednesdays: 6:00pm–9:30pm Thursdays: 6:00pm–9:30pm Sundays: Generally 12:00pm–4:00pm Technical rehearsals: 6:00pm–late Rehearsal Location: Wednesday rehearsals:Chermside Library, 375 Hamilton Road, Chermside QLD Thursday and Sunday rehearsals: Lavalla Centre, Room 858 Fernberg Road, Paddington QLD Technical rehearsals: C Block Auditorium, South Bank TAFE, 66 Ernest Street, South Brisbane QLD Warnings: Themes of grief, terminal illness, family conflict and bereavement. Creative Team: Director: Susan O’Toole Cridland Production Website: Brisbane Arts Theatre – Away Auditions Other information: Performers of all experience levels are welcome, including first-time community-theatre participants. Cast members must be available for all technical rehearsals and performances. Successful performers must become financial members of Brisbane Arts Theatre. Membership costs $40 and is valid for 12 months. Enquiries: away26@artstheatre.com.au or (07) 3369 2344. Available Roles/Character Breakdown: Tom (Male, late teens) Warm, intelligent and compassionate. A school student confronting circumstances far beyond his years and one of the emotional centres of the play. A slight English accent is required. Meg (Female, late teens) Bright, spirited and independent. She is curious about the world and beginning to challenge her mother’s expectations. Harry (Male, 40s–60s) Tom’s father. Hard-working, practical and deeply devoted to his family. A general English accent is required. Vic (Female, 40s–60s) Tom’s mother. Kind-hearted, resilient and protective. A general English accent is required. Gwen (Female, 40s–60s) Meg’s strong-willed and status-conscious mother. Often controlling, though ultimately motivated by fear and love for her family. Jim (Male, 40s–60s) Meg’s easy-going and thoughtful father. He is frequently caught between maintaining peace and standing his ground. Coral (Female, 40s–60s) A woman struggling with grief after a family tragedy. A complex and emotionally demanding role. Roy (Male, 40s–60s) Coral’s husband and a school principal. Reserved, dignified and carrying his own emotional burden. Miss Latrobe (Female, 30s+) A dedicated drama teacher whose school production opens the play. Rick (Male, 20s–30s) A holiday-maker whose chance encounter with Coral becomes significant. Leonie (Female, 30s–50s) A resort guest who provides both humour and insight. Master of Ceremonies (Any gender) A confident, charismatic and theatrical host. Ensemble Roles The ensemble may portray campers, holiday-makers, hotel guests, school-production performers and other featured characters. These roles are suitable for first-time performers, students and community members seeking stage experience without the pressure of a major role.

Works in Chaos 2.0 Presented by: Salad Days Collective Venue: PIP Theatre Date attended: 24 July 2026 Lighting Design: Georgia Lily Chalmers Sound Design: Tommi Civili Projection Design: Cutter Harris Photography: Gracie Hosie “Please keep your limbs, expectations, and unresolved emotional baggage inside the ride at all times.” Three new one-act plays. Three creative teams. One month to whip up something stage-worthy. A mountain of cardboard boxes. And one glowing refrigerator... Welcome to Works in Chaos. Presented by Salad Days Collective at PIP Theatre, Works in Chaos 2.0 invites us into the messy middle of making theatre. These are fresh-off-the-press plays still being tested and adjusted, with no pressure to pretend every answer has already been found. And the sold-out audience got to join the chaos and watch each piece discover what it might become. Each 30-minute play was followed by amusing, unsolicited facts read aloud while the stage was reset amid a growing number of cardboard boxes. Those boxes and a silver refrigerator covered in colourful magnetic letters formed the basic set for the shows. Before long, that fridge is glowing ominously and acting as a portal between the evening’s strange little worlds. Georgia Lily Chalmers’ lighting, Tommi Civili’s sound and Cutter Harris’ projections give each play its own atmosphere while repeatedly transforming the same cluttered space. Our House Written by: Aimee Tacon Directed by: Maxi Mossman Cast: Sonny Green as Ed and Emma Ferguson as Toya “You have everything you need here. Don’t waste time trying to understand it.” Our House begins with a simple enough instruction: Ed has one year to build a house. If he fails, Toya will kill him. No pressure... Toya arrives armed with an alarming number of handguns (also cardboard thankfully), while Ed starts fumbling around with the “building materials” and their relationship becomes increasingly difficult to name. The house is clearly a metaphor for building a life with someone, but Aimee Tacon’s script keeps stretching that idea in different directions. Ed and Toya shift between lovers, caregiver and dependent, captor and captive, and participants trapped in the world’s most alarming home renovation. The script moves with dreamlike logic and the unruly rhythm of a subconscious left unsupervised. Certain symbols make complete sense in the moment but become almost impossible to explain later. Everything seems packed with meaning, even when that meaning is just out of reach. The pants-shitting scene is probably the best example of this... Director Maxi Mossman makes excellent use of the clutter. Boxes and crepe streamers become construction materials, barriers, and toys. Sonny Green and Emma Ferguson are superb together. Both play the surreal material with such naturalism that the relationship remains believable even when the situation does not. Ferguson’s Toya can be affectionate, commanding or capable of scaring Ed shitless within seconds, while Green gives Ed a highly believable mix of confusion, obedience and mounting desperation. They slip between each new phase of the relationship without signalling the change, keeping this strange little two-hander constantly off balance. Dance Forever! Written by: Malika Savory Directed by: Gina Greer Cast: Megan Lilly as Miki, Jasmine Prasser as Rachel, Liam McMahon as Marco and Neve Francis as Lenny Imagine Jumanji, except instead of an ancient board game, a group of online gamers downloads Dance Forever! from the dark web, gets sucked into the software and is forced to dance through increasingly hostile levels. Miki, Marco and Lenny connect through online gaming. Their conversations collide over one another in the recognisable way teenagers speak through headsets, each apparently assuming everyone else can process four thoughts at once. Once pulled into the game, they become their avatars and begin wandering through the software like they've been dropped into the Backrooms (but with choreography). The sound effects and digital projections make the game feel like a real, glitching world with the glowing refrigerator becoming its portal. Their relationships are already messy before anyone gets sucked into a dance game. Miki is isolated at home with a stepmother she cannot stand and an absent father, so she clings tightly to the blunt, aggressive Lenny (although her real identity is another matter entirely). Marco, meanwhile, is a homeschooled teenager with POTS who seems to arrive already halfway through an existential crisis (poor wee lamb). Then there is Rachel, who has been catfishing her stepdaughter online as “Glamgirl.” Jasmine Prasser steps into the role at the last minute for this performance, script in hand, and handles the challenge confidently. The script could easily separate her from the frantic physical world around her, but she stays fully involved in the action and finds plenty of humour in Rachel’s strange place within the group. Malika Savory’s script works best when it digs into how online spaces can be both an escape and a trap. The characters enter the game looking for connection and a break from real life, but it soon starts controlling how they move, act and even see themselves. As everything gets faster and messier, the play captures the sensory overload of an addictive game surprisingly well. Even the forced dancing feels like the pressure to keep performing online. Some details are hard to catch once the dialogue begins piling on top of itself, but that seems intentional. The game doesn't care whether the characters (or the audience) can keep up. It feels like our online world at full volume: too many voices, jokes, arguments, and identities all demanding attention at once. Spaceman Written by: Samuel Herbertson Directed by: Lauren Dillon Cast: Meg Dale as Jayne, Matthew Butler as John, Samuel Herbertson as the Cowboy, Tammy Weller as the Postman and Lachlan Orton as Danny/Fred the Cat “I thought it would be the bombs, or the plague, or the robots.” Spaceman begins with a missing cat and quickly misplaces reality too. John is just enjoying a snack when he suddenly finds himself surrounded by a postie preparing for the apocalypse from inside his bathtub, an ex-girlfriend, a giant spider, his cat Fred possessing his housemate’s body, and a blue cowboy who may or may not be Death. Standard fever dream, really. John may be experiencing a psychotic episode. Maybe nitrous oxide is turning everyone’s brains to goo. Or perhaps we are hallucinating through broken pieces of his memory as grief begins interfering with reality. The play is not especially interested in choosing one answer. Samuel Herbertson’s writing bounces between absurd comedy and heavier themes of guilt, grief, and isolation. The stranger the room becomes, the more philosophical the play gets. My reading is that this apocalypse may be more emotional than literal. John’s world has already ended in some way, and these impossible visitors arrive as pieces of unfinished business. Matthew Butler makes John vulnerable and increasingly frazzled, so it's easy to believe his world is falling apart even when nobody can agree on why. Meg Dale brings some warmth to the stranger parts of the story, while Lachlan Orton’s transformation into Fred the Cat is hilarious and oddly sweet. “The cute British meowing deserves recognition” is not a sentence I expected to write in this review, but here we are. Tammy Weller throws herself into the postie's apocalyptic nonsense with such confidence that I almost start believing her. Samuel Herbertson is effortlessly funny as the blue cowboy, sitting calmly in the middle of the disaster with a magnificent moustache, blue skin, a desperate need for a cigarette lighter and the attitude of someone for whom the end of reality is merely an inconvenience. The Smurf-like look and Texan accent are funny enough already, but his laid-back delivery makes the character even better. The cigarette smoke becomes quite strong in the intimate theatre and adds more discomfort than atmosphere. But perhaps that is the point? The end of the world is not meant to be comfortable, after all. Still, Spaceman finds a surprisingly gentle centre inside all its cosmic nonsense. The play is less interested in solving the apocalypse, choosing instead to ask who you would want beside you when everything falls apart. Across all three plays, Works in Chaos 2.0 shows why new writing should be allowed to be messy in public. Not every idea lands clearly yet, and some moments are difficult to untangle, but the performance gives artists room to test strange ideas without pretending the work is completely finished. The result is baffling, unsettling and frequently funny. All three pieces are alive with truly original ideas. I’d much rather watch a new work take a genuine risk than see something polished until every interesting edge has been sanded away. Besides, any evening featuring a deadly house-building ultimatum, a dance game from internet hell, a dead British cat and a glowing refrigerator was never going to send us home with everything neatly packed away (in those many cardboard boxes).