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Having had the pleasure of experiencing Monty Python’s Spamalot by Paterson Productions at the Twelfth Night Theatre, I can confidently say that this production stands as a comedic masterpiece that rivals the best of Broadway. The show not only met but exceeded all expectations, leaving me compelled to attend twice to bask in its brilliance once again. Under the direction of Shaun McCallum and assistant director Jasmin Flynn, Spamalot promised a tongue-in-cheek, slapstick extravaganza, and it delivered far beyond expectations. The production's distinct and defined happy ending, a delightful twist on the expected, added a unique touch to the familiar Monty Python humour. Julie Whiting, the Musical Director, led a fourteen-piece orchestra with finesse, creating a flawless harmony that perfectly complemented the outstanding vocals onstage. The choreography by Maureen Bowra, assisted by Cerys Downing, was a standout, consistently engaging and flawlessly executed by the ensemble. Now, let's talk about the cast. Patrick Oxley as King Arthur commanded the stage with a perfect balance of regality and ridiculousness. Jessica Papst, portraying the Lady of the Lake, emerged as a true standout. Her vocal performances were nothing short of extraordinary, leaving the audience in awe of her range and emotive delivery. Papst's impeccable sense of comedy and brilliant costumes and wigs added another layer of entertainment to her remarkable performance. Jake Lyle, in the role of Sir Galahad, showcased remarkable talent and versatility, delivering excellent vocals and incredible comedic nuances. James Lennox, as Sir Lancelot, demonstrated brilliance with his versatile performances, seamlessly transitioning between one ridiculous character to the next. Sam Caruana as Sir Robin established himself as a star with delightful comedy and a warm stage presence. Lyle, Lennox, and Caruana, all demonstrated levels of talent and versatility that are characteristic of Broadway-calibre performers. Joan Camuglia-May infused every moment onstage with comedic flair and captivating charm as Sir Bedivere. David McLaughlin, portraying Patsy, was a comedic masterclass, making the character highly relatable and utterly hilarious. Christopher Batkin as the Historian and Prince Herbert demonstrated remarkable comedic flair and versatility. Backing the main cast, the Laker Girls and the knights ensemble, along with the swings Ruby Thompson and Eleanor Grieve, added vibrancy to the production. Each performer brought their unique personality and boundless energy to create a truly immersive experience. The stellar cast, dedicated creatives, and skilled orchestra have crafted an unforgettable experience filled with laughter and sheer delight. Spamalot is not just a triumph; it's a testament to the caliber of talent that resides in the heart of Brisbane's theatre scene, proving that world-class productions can indeed emerge from unexpected places.

An Evening in Concert Griffith University Musical Theatre (3rd Year Students) Director: Amy Lehpamer Musical Director: Heidi Loveland Choreographer: Dan Venz Producer: Professor Paul Sabey Band: Archie Loveland (Guitar), Heidi Loveland (Keyboard), Marcelle Gunning (Drums)   Not polished into sameness or moulded into industry expectations just yet, but bursting with instinct, curiosity, and individuality, An Evening in Concert is a snapshot of artists right on the edge of stepping out on their own.   This is not a cookie-cutter showcase. Each performer chooses their own material and/or pens their own monologue. You could sense that ownership in every moment. It is like getting a backstage pass to their souls, not just a front-row seat to their skills. The entire cohort has vocal pipes that could knock your socks off. No mics needed; those full forte ensemble sections pack a punch. And when their harmonies click... it feels like the space truly lifts. The band, Archie Loveland (guitar), Heidi Loveland (keyboard), and Marcelle Gunning (drums), kept everything glued together with their expertise.   Songs and monologues are interwoven with ease, and the pacing never drags. Just as one energy settles, something new will shift it. I also appreciate that many of the selections are not the typical MT staples. Sure, there were a few familiar favourites sprinkled throughout, but much of the material was new to me, allowing me to experience the performances without any preconceived impressions. What I always enjoy most about these showcases is discovering the individuality of each performer, and this group has that in spades. I could already start to see what makes them distinct and the roles they might gravitate towards. QAEMT has produced so many acclaimed performers over the years, and it’s always inspiring to see a new cohort stepping into that space. Honestly, I got the sense that everyone on that stage had found their genuine calling. Looking at the program as a whole, there was a large mix of emotional tones and a few thematic threads that began to emerge. Saul Kavenagh opened the night with the charming New York (Two Strangers Carry a Cake Across New York), bringing an easy charisma as if he had walked straight out of a Broadway workshop. His monologue, featuring a memorable Nutbush story, had the audience instantly on side. This subtle New York theme kept popping up across the showcase, tying together several pieces in a way that felt unintentional but satisfying. Hannah Mohr added to the romanticised view of NYC in her sparkling rendition of Another New York Love Story (In Pieces). Harry Ince continued that motif with Playbill (It’s Only Life), delivering an intimate performance rich in poignancy. Zoe Allsopp Lander brought a bright, bubbly energy to Morning Person (Shrek the Musical), while Aarya Doolabh’s So Easy (To Fall in Love) was an unexpected pop inclusion for a musical theatre showcase, but still offered a different tonal texture. Sam Thomas took the stage with Madrid Is My Mama (Women on the Verge of a Nervous Breakdown) and turned it into a comedic masterpiece with animated facial expressions and an engaging storytelling style. And his eyes have a soul-piercing gaze to draw you in. Lily Bennetts’ Two Little Lines and Caelan McCarthy’s No Turning Back Now both explored impending parenthood, each from their own angle, but with the same level of anxiety and fear in their performances. That introspective tone continued through Priya Gill’s formidable Life As We Know It (My Brilliant Career), Lucas Harm’s bittersweet Mom Could Play Guitar (We Aren’t Kids Anymore), and Lachlan Dunks’ expressive and emotionally stirring It All Fades Away (The Bridges of Madison County). Addisyn Herndon’s Pretty Funny (Dogfight) showcased profound vulnerability, while Lottie Smith's rendition of Home (Beetlejuice) was passionate with a unique tonal quality for this challenging song. Alessia Charman tackled Astonishing (Little Women) with clear and controlled vocals. Jackson Hughesman’s Santa Fe (Newsies) exuded a steady, classic confidence. Ned Kelly’s Waiting For Life (Once on This Island) was delightfully playful, full of character, and a notable standout. Annika Reilly’s I’m Done (Rocky the Musical) conveyed pure determination and drive, while Tayler Ramsay’s dainty rendition of Sister’s Pickle (Amélie) presented a charming tale of the chatter running through her mind. Changing My Major (Fun Home) seemed like it was tailor-made for AJ Betts, who delivered it with a conversational, cheeky, and unforced flair. There was this sense of genuine thought behind every line, rather than just hitting beats. Plus, the monologue about their, frankly, glorious hair added extra humour and personality, truly capturing their essence.   Written by the performers themselves, the other monologues added an extra layer of vulnerability and creativity to the evening. Some were playful, some reflective, all were personal. Ella Wood’s camel story was particularly memorable, and across the board, it was clear that these students are not just performers, but strong storytellers already.   Visually, the staging remained simple. Mirrors were moved around the space, and costumes were self-selected, which tied nicely back into the theme of individuality. The ensemble numbers brought a great sense of cohesion, particularly Break From the Line, which felt almost symbolic of the entire cohort: a group of individuals all striving to stand out in their own way. That Ball (Shane Warne the Musical) brought a burst of humour that the audience clearly enjoyed, and Taking the Wheel (It’s Only Life) closed the night on an epic, unified note.   Being allowed to watch performers at this stage of their training is always a special experience to me. Griffith’s Musical Theatre program continues to produce singers of an exceptionally high calibre, bursting with skill, individuality, and possibility. I'm eager to witness their complete triple-threat abilities in their upcoming shows and I have no doubt we’ll be hearing many of these names again shortly after they graduate.

Songs for a New World Presented by Queensland Academy of Excellence in Musical Theatre (QAEMT) at Griffith University Performed at Queensland Performing Arts Centre (QPAC) Music & Lyrics: Jason Robert Brown Director: Dr Elise Greig Musical Director: Brett Sturdy Choreographer: Dan Venz Music Supervisor: Heidi Loveland Lighting Designer: Keith Clark Band: Brett Sturdy (Keys), Archie Loveland (Guitar). Lucas Harm (Percussion) Photography: PIF Productions Songs for a New World sees emerging artists step into material that truly demands everything from them. It asks performers to leap emotionally and vocally without the safety net of a traditional narrative arc. This QAEMT cohort rose to that challenge with impressive maturity. This second-year showcase felt less like a student production and more like a company of artists already poised on the brink of their own “new world.” Rather than a linear plot, the show presents a series of moments. It offers glimpses of people on the brink of change, exploring themes of love and loss, faith and fear, optimism and cynicism. It does not tie everything up neatly, but instead invites us to sit in that uncertainty and recognise the beauty in beginning again. That feeling of standing on the edge was beautifully captured by the entire ensemble. Every performer was giving “wistful”, and I mean that in the most complimentary way possible! The design aesthetic was clean and cohesive, with a simple clothing palette of layered browns, blues, blacks and whites that worked beautifully across all the different stories. Some Americana-inspired props added detail to suggest place without cluttering the stage. And a small but genuinely impactful detail to me: the consistently tidy hair styling across the cast. It might seem minor, but it really adds to the overall polish and professionalism in a noticeable way. As the cast boarded the metaphorical ship and moved into the opening number “The New World”, there was a strong sense of everyone stepping into the same journey together. Ned Kelly’s solo emerged seamlessly from that swell, supported by the full-company sound behind him, while Lucas Harm’s live percussion anchored the moment with a subtle sense of propulsion. You could really feel the musical direction from the get go, especially in the way the dynamics were shaped; building organically into genuinely goosebump-worthy moments. For a Jason Robert Brown score, the harmonic complexity alone requires incredibly sharp musicianship. The band delivered rhythmic drive throughout, never overpowering the vocals, which is so important in a show like this. “On the Deck of a Spanish Sailing Ship, 1492” - Ned Kelly set the tone early with a voice full of emotion. There was something very honest about his sense of storytelling. “Just One Step” - Addisyn Herndon spiralled through this number, in the best way. This was chaotic, unhinged, slightly terrifying energy, perched on that bench while Alessia Charman, Priya Gill and Hannah Mohr circled as her ever-supportive (or enabling) muses. Controlled mania is such a specific skill and they all nailed it. “I’m Not Afraid of Anything” - Lottie Smith and Aarya Doolabh gave us a beautiful take on motherhood. Lottie, in particular, has a literal sparkle in her eye when she performs. It’s not forced, it’s just there to naturally draw you in. “The River Won’t Flow” – My favourite group number of the show. I don’t quite know how to explain it, except that I felt like a female bird watching this. The masc company, led by Caelan McCarthy (giving strong Heath Ledger lookalike), had this effortless leading-man energy, with Lucas Harm adding a beautifully raspy tone. The staging had so much life to it, full of movement, humour and depth. “Steam Train” - AJ Betts and Harry Ince led a high-energy, choreographically demanding number that was impossible not to bop along to, complete with a basketball prop and a moment of enthusiastic commitment that may have slightly collided with a stage light. It happens. “Christmas Lullaby” - A really lovely reset in the middle of the show. Priya Gill, Hannah Mohr and Tayler Ramsay delivered this with a sincerity that let the emotion speak softly. “Stars and the Moon” - The femmes came together for this one to deliver power and heartbreak. The harmonies were confident and well-balanced in a deceptively challenging number. “She Cries” - Sam Thomas and Lachlan Dunks created an intimate connection with the audience through direct eye contact. It made the whole moment feel a bit more exposed and intimate in a way that really suited the song. “Surabaya Santa” - The unexpected comedic highlight. Zoe Allsopp Lander strutted in with full Mrs Claus-meets-Roxie Hart energy, belting like an absolute weapon while navigating tricky blocking. Plus, an unhinged Saint Nick and sassy elves played by Harry Ince, Sam Thomas and Jackson Hughesman. “The Flag Maker, 1776” - Alessia Charman, Aarya Doolabh and Zoe Allsopp Lander each brought something completely different here. Tender, desperate and numb, all existing at once. It created this really layered emotional picture that was quietly devastating. “King of the World” - The only song I knew going in, and perfectly assigned to Saul Kavenagh. His tone carried a Jeremy Jordan-like clarity and ease, while still feeling entirely his own. The control, the build and the payoff were just really exciting to witness. “Flying Home” - Jackson Hughesman, I was not prepared for that voice! His falsetto floated, the high belts rang out without a hint of tension. Genuinely stunning. Finale “Hear My Song” - A full-company moment that brought the emotional threads together, reinforcing the show’s themes of hope, uncertainty and new beginnings. This cohort is involved in every aspect of the production. Stage management, dance captaincy, voice captaincy, dramaturgy, dialect work, costumes, props, sets, projections, social media, program design and photography. Their professionalism extends far beyond performance. There were a few noticeable adjustments, likely due to injuries or vocal conservation. Although I'm sure these were handled with care, and the adaptability only highlighted the strength of the ensemble as a team. The audience was filled with QAEMT graduates who were absolutely living for every riff, belt and harmony. The pride in the room was undeniable. This production captures the heart of the show. Hopeful and wary. Brave and uncertain. Bright and bruised. It is not plot-driven theatre. It is emotional, reflective storytelling, and this group clearly understood that. Watching these artists stand onstage singing about stepping into the unknown, knowing they themselves are on the verge of doing exactly that, felt beautifully meta. I look forward to seeing their next performance!

Title: Jersey Boys Presented By: On the Boards Theatre Company Genre: Musical Synopsis: Jersey Boys  tells the story of Frankie Valli and The Four Seasons, charting their rise from the streets of New Jersey to international stardom. Packed with iconic hits, the show explores friendship, fame, and the challenges behind the music, revealing the personal struggles and triumphs that shaped one of the most successful groups in pop history. Audition Dates: 10 May + 17 May + 18 May 2026 Audition Times: 10 & 17 May: 9:00am – 12:00pm 18 May: 6:00pm – 9:00pm Audition Self-Tape Due (if applicable): Video auditions accepted – details provided upon application Registrations close: 3 May 2026 Callbacks (if required): 22 May 2026, 6:00pm – 9:00pm Audition Requirements: Individual audition (10-minute time slot) Group dance/movement call required Full audition requirements provided upon registration Audition Registration: https://forms.gle/pLkzQU2wBBdSJUwF7 Performance Dates: September 2026 Performance Location: T welfth Night Theatre, Brisbane Rehearsal Dates: Commencing June/July 2026 Performer Age: 18+ Production Website: https://ontheboards.com.au/ Available Roles/Character Breakdown: Frankie Valli Tommy DeVito Bob Gaudio Nick Massi Joey Pesci Mary Delgado Other Male Ensemble Roles Other Female Ensemble Roles

Title:  Footloose Presented By:  Communication in Action Genre:  Musical Theatre Performance / Youth Production Synopsis: A high-energy, story-driven musical based on the classic film about self-expression, community, and dancing against the odds. Students in Year 5 and above get the chance to take part in this ensemble-rich, professional-style theatre production. Audition Date:  Sunday May 17th, 2026 Audition Location and Address:  Thomas Dixon Centre, 406 Montague Rd, West End QLD 4101, Australia Audition Requirements: This full-scale musical is designed for students in Year 5 and above who are ready to challenge themselves, grow in confidence and experience what it’s like to be part of a professional-style theatre production. Audition Registration: Enrolments open March 2nd, 2026 Audition Pack: Footloose Information HERE Performance Dates:  Sunday August 2nd, 2026 Performance Times:  1PM & 4PM Performance Location:  Talbot Theatre, Thomas Dixon Centre, West End QLD 4101, Australia Rehearsal Dates & Times: Sunday 24 May - 9AM - 4PM Sunday 14 June - 1PM -5PM Saturday 11 July - 11AM - 4PM Sunday 12 July - 9AM - 4PM Sunday 19 July - 9AM - 4PM Sunday 26 July - 9AM - 4PM Saturday 1 August (Dress Rehearsal) - 9AM - 4PM Rehearsal Location:  Thomas Dixon Centre, West End QLD 4101, Australia Performer Age:  Year 5 and above Production Website: Communication in Action - Footloose

Title: One Act Plays 2026 (Whiskey and Mischief / Perfectly Popping Pears / The Apology) Presented By: Noosa Arts Theatre Genre: One-Act Plays (Comedy / Comedy-Drama) Synopsis: A trio of short plays bringing comedy, chaos, and sharp social observation to the stage: Whiskey and Mischief  follows a reserved Australian man whose life is upended when a chaotic leprechaun bursts in, dragging him into a whirlwind of Irish magic, whiskey, and mayhem. Perfectly Popping Pears  centres on a dinner party teetering on disaster, as Kitty desperately tries to control her household—and a stubborn dessert—before guests arrive. The Apology  is a dark comedy set in a corporate HR meeting room, where a simple mistake spirals into an uncomfortable exploration of accountability and what it truly means to say sorry. Audition Date: 5 May 2026 Audition Time: 6:30pm Audition Location and Address: Noosa Arts Theatre Audition Requirements: No booking required — simply attend on the day Audition Registration: No registration required Enquiries: Jenni McCaul – 0455 547 793 Performance Dates: 9 July – 19 July 2026 Performance Location: Noosa Arts Theatre Performer Age: 18+ Creative Team: Director – Andrew Moon ( Whiskey and Mischief ) Director – Jacqui Mata Luque ( Perfectly Popping Pears ) Director – Liza Park ( The Apology ) Production Website: https://www.noosaartstheatre.org.au/auditions/ Available Roles/Character Breakdown: Whiskey and Mischief (Comedy, by Sheree Veysey) Daniel O’Connor  — Young, reserved Australian man Leprechaun  — Female, 50+, larger-than-life presence, Irish accent Perfectly Popping Pears (Comedy, by Shannon Murdoch) Kitty  — Late 50s / early 60s Bob  — 60s Junie  — 33 The Apology (Comedy/Drama, by Tom Ballard) Graham  — Male, 50+, appears older Laura  — Female, any age Bernadette  — Female, mid-30s to mid-40s

Title: Lovesong Presented By: Allentertainment Genre: Contemporary Drama / Physical Theatre Synopsis: Lovesong  is a tender and unflinching exploration of love across a lifetime. Moving between past and present, two versions of a couple share the stage as their memories echo, collide, and reshape their understanding of each other. Inspired by The Love Song of J. Alfred Prufrock , the play examines memory, ageing, identity, and the quiet intimacy of long-term relationships, set against the emotional weight of a life nearing its end. Audition Date: Sunday 3rd and Tuesday 5th May Audition Requirements: Prepare a contemporary monologue (max 2 minutes) exploring themes of love, loss, memory, or ageing Be prepared for cold readings from the script Wear comfortable clothing suitable for movement work Bring a current headshot and CV Actors with physical theatre/movement experience strongly encouraged Audition Registration: Submit via: https://www.allentertainment.com.au/audition/ Include: Headshot and acting CV Brief cover letter indicating role(s) of interest Any relevant movement/physical theatre experience Audition Pack: https://www.allentertainment.com.au/wp-content/uploads/2026/04/Allentertainment-Lovesong_Audition_Pack.pdf Performance Dates: 29 July – 8 August 2026 Performance Location: PIP Theatre – Savoir Faire, 20 Park Rd, Milton QLD 4064 Rehearsal Dates and Location: TBC (in negotiation with cast and venue) Warnings: Themes include memory loss, dementia, ageing, infertility, voluntary euthanasia, and emotional distressIncludes physical intimacy and movement-based storytelling Performer Age: 18+ Creative Team: Director: Harrison Allen Production Website: https://www.allentertainment.com.au/audition/ Other information: Honorarium: $500 per actor for the season Approx. 90 minutes duration (no interval) Available Roles/Character Breakdown: William (Older)  — Male, 65–75. Stoic, reserved, and introspective. Reflecting on a lifetime of routine, devotion, and quiet regret. Margaret (Older)  — Female, 65–75. Warm, romantic, and ethereal. Navigating degenerative memory loss while holding onto moments of beauty. Billy (Younger William)  — Male, 25–35. Anxious, insecure, and deeply in love. At the beginning of adulthood, balancing ambition and emotional vulnerability. Maggie (Younger Margaret)  — Female, 25–35. Vibrant, modern, and free-spirited. A grounding counterpoint to Billy’s anxiety, full of life and drive.

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

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

Title: You’re A Good Man, Charlie Brown Presented By: Noosa Arts Theatre Genre: Musical Theatre Synopsis: Step into the world of the Peanuts gang in this heartwarming and humorous musical following Charlie Brown and his friends as they navigate friendship, love, and life’s little challenges. Through a series of vignettes filled with charm, wit, and catchy songs, the show captures the innocence and optimism of childhood. Audition Date: April 22nd & 29th, 2026 Audition Time: 6:30PM – 9:30PM Audition Location and Address: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4566 Audition Requirements: Auditions will consist of singing and dancing, with possible line readings from provided materials. Prepare a musical theatre song in the style of the show, or use the provided audition cuts. If bringing your own song, you must supply your own accompaniment. Please indicate your preferred audition date and desired character when booking. Audition cuts found HERE . Audition Registration: Email jordanj.stagemanager@gmail.com  with your preferred audition date and the character you wish to audition for. Audition Pack: Noosa Arts Theatre Audition Page Performance Dates: September 10th - 27th, 2026 Performance Times: Thursdays & Fridays - 7:30PM Saturdays & Sundays - 2PM Performance Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4566 Rehearsal Dates: Starting May 13th 2026, Saturday rehearsals begin 13 June 2026 Rehearsal Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4566 Performer Age: 12+ Creative Team: Director and Choreographer - Jordan J Production Website: Noosa Arts Theatre - You're A Good Man Charlie Brown Other Information: This production accommodates performers involved in other shows (e.g. Cope Creative’s Frozen ) by delaying Saturday rehearsals. Enquiries can be directed to jordanj.stagemanager@gmail.com . Available Roles/Character Breakdown: Charlie Brown – Baritone (Bb3 to F4); kind, patient, loyal and determined, but struggles with self-confidence Lucy Van Pelt – Mezzo-Soprano (G3 to F5); bossy yet caring, confident, and secretly in love with Schroeder Linus Van Pelt – Baritone (Bb3 to E4); thoughtful, philosophical, and often the voice of reason Schroeder – Tenor (Bb3 to Ab4); a moody musical genius devoted to Beethoven Snoopy – Tenor (C3 to A5); imaginative, playful, and far from an ordinary dog Sally Brown – Soprano (B4 to Ab5); curious, inquisitive, and reliant on her brother Charlie Brown Ensemble – Mixed vocal parts; performers who will play multiple roles, assist with scene changes, and require strong movement/dance ability

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

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