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Title: DEADLINE Presented By: BATS Theatre Company Inc. Genre: Comedy / Murder Mystery / Contemporary Play Synopsis: Eight mystery writers arrive at a fog-shrouded island mansion believing they’re there for the legendary “Deadline Challenge” — twenty-four peaceful hours to work on their next novel. But the challenge is anything but peaceful. In reality, the writers have been assembled to solve a murder that hasn’t happened yet — because the killer hasn’t struck. If any writer can mastermind and execute the perfect murder without being caught, they’ll win a million dollars (a life-changing amount for any writer!) As tensions rise, alliances shift and suspicion grows, the line between fiction and reality blurs. Who will live? Who will die? Who will survive Deadline ? Audition Date: 16 December 2025 and 18 December 2025 Audition Time: 7:30pm Audition Location and Address: Buderim War Memorial Hall, Corner of Main and Church Streets, Buderim Audition Requirements: Relaxed, friendly group audition process No monologue required Expect cold reads and direction on the night All experience levels welcome Audition Registration: No formal registration required — walk in. For queries: call Director Alex Meloni at 0403 771 641 Performance Dates: March 2026 Performance Location: BATS Theatre Company Inc. Buderim War Memorial Hall Rehearsal Dates: Commences Tuesday 6 January 2026 Rehearsals every: Tuesday — 7:30pm | Thursday — 7:30pm At Buderim War Memorial Hall Production Website: https://batstheatre.com/auditions Other information: If cast, performers must become BATS members (small fee). Available Roles / Character Breakdown: THE STAFF Dellacroix  – Dapper host Bella  – Barista Meyers  – Elderly boat captain Morris  – Completer of odd jobs, loud Morris  – Completer of even jobs, irritated ( May be double-cast ) THE WRITERS Penelope Bain  – 20s; social media celebrity; first-time author Deborah Haskins  – 30s–40s; half of the husband-wife writing duo Gregory Haskins  – 30s–40s; her husband, well-meaning doofus Carswell Chalmers  – 60s–70s; retired pulp noir novelist Vampetta  – Any age; gothic queen of murder mysteries Brenda  – 20s–30s; an enigma Zak  – Early 20s; student of a famous novelist, classic bro Jennifer Milam  – Any age; self-published cozy-mystery author

Title: Snow White Presented By: Ballet Theatre Queensland (BTQ) Genre: Classical Ballet / Family Production Synopsis: Ballet Theatre Queensland invites passionate young dancers to audition for the 2026 season of Snow White . This annual company program offers dancers the chance to experience a professional rehearsal and performance environment, collaborate with industry creatives, and perform across two major venues — The Star Theatre (Gold Coast) and the Concert Hall, QPAC.Applicants will be placed in audition classes based on age and training level, with opportunities to be considered for alternate or higher levels depending on ability. Audition Date: Sunday 8 February 2026 Audition Time: Dancers must be available 9:00am–5:00pm Audition Location and Address: BTQ Studios, 12A Windorah Street, Stafford QLD Audition Self-Tape Due (if applicable): Video submissions due 5pm, 1 February 2026 (Late submissions will not be considered.) Audition Requirements: Dancers aged 8–22 Audition fee: $50 Applicants assessed on technique, artistry, and training level Intermediate dancers require minimum 1 year pointe training Senior dancers require minimum 2 years pointe training Dancers may be moved to a higher level audition class if recommended Mandatory attendance for full 2026 rehearsal and performance calendar Applicants may be featured on BTQ social media unless opted out via email Audition Registration: Register via the BTQ website: https://www.btq.com.au/events/snow-white-2026-auditions Performance Dates: Two performance weeks in July 2026 Performance Location: The Star Theatre, Gold Coast and Concert Hall, QPAC Rehearsal Dates: Mandatory attendance, including: September holiday week, January rehearsal weeks. Performer Age: 8–22 Production Website: https://www.btq.com.au/events/snow-white-2026-auditions Other information: Offers will be issued within one week of the audition. Some dancers may be placed on a waiting list.

Title: The Narcissist Presented By: Gold Coast Little Theatre (GCLT) Genre: Contemporary Comedy Synopsis: Xavier Playfair is a sharp-tongued, self-absorbed urban professional staring down the barrel of middle age in inner-city Brisbane. His best friend Bronwyn, a bold and boozy co-conspirator, challenges him to a outrageous bet: six weeks to “bag a man” — no ifs, no buts, no limits, no boundaries, no rules.What follows is a riotous and politically incorrect comedy of manners, as Xavier, Bronwyn and their circle tumble through hookups, games, ego battles and emotional landmines. The Narcissist  skewers vanity, desire and midlife crisis with razor wit, big personalities and plenty of alcohol-fuelled honesty, all set in a self-consciously contemporary Brisbane apartment. Audition Date: Sunday 18 January 2026 Audition Time: From 10:00am Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough Street, Southport Audition Self-Tape Due (if applicable): Video auditions accepted – email a link to narcissist@gclt.com.au  by Saturday 17 January 2026, 5:00pm . Audition Requirements: Read the audition pack and select your preferred role(s). Prepare the short monologue and scene for each character you’re auditioning for (no need to memorise). Be prepared to cold read or workshop scenes with others on the day. All auditionees must be 18+. You may be asked to read for multiple characters if you’re comfortable. Audition Registration: Complete the online registration form by Friday 16 January 2026, 5:00pm: https://gclt.com.au/ninja-forms/454hhr/ Audition Pack: Download at: https://gclt.com.au/wp-content/uploads/2025/12/Audition-Pack-The-Narcissist-GCLT.pdf Performance Dates: Season: Friday 17 April – Saturday 9 May 2026 Performance Location: Gold Coast Little Theatre, 21a Scarborough Street, Southport Rehearsal Dates: Rehearsal period: 14 January – 27 March 2026 (approx. 11 weeks) First read-through: Tuesday 20 January, 6:00pm Rehearsal Times: Tuesdays – 6:00pm | Thursdays – 6:00pm | Sunday mornings – time negotiated with cast/creative team A full schedule will be issued after the first table read. Note any rehearsal unavailability on your audition form. Warnings: Adult themes, strong language, alcohol use, sexual references, mature relationship content. Performer Age: 18+ only Creative Team: Director – Kate Learmonth Production Website: https://gclt.com.au/auditions/ Other information: If cast, you must become a financial member of GCLT (approx. $20). GCLT encourages auditions from performers of all backgrounds and identities. If you can assist with backstage, set building, painting, costumes or tech, note this on your form and/or email narcissist@gclt.com.au . Available Roles / Character Breakdown: Xavier Playfair Playing age: 30–45 A sharp, self-absorbed, razor-witted urbanite facing a looming midlife crisis. Charming, cynical, and obsessed with his own image, but riddled with insecurity underneath. Bronwyn Moyet Playing age: 30–45 Xavier’s best friend and verbal sparring partner. Bold, boozy, and unapologetically chaotic, with a love of confrontation and biting humour that masks deeper disillusionment. Satchel Strongbow Playing age: 25–35 “The City’s Most Eligible Barista.” Flamboyant, metrosexual, fashion-forward and theatrical, Satchel is the life of the party and an astute observer of everyone else’s mess. Jesse Jardine Playing age: 30–45 Smooth, sexy and self-assured; appears to have it all together until cracks appear. Magnetic and charismatic, with ambiguous motives. Loves women… and men. Y’landa Scrivener Playing age: 25–35 Smart, stylish, and fiercely independent. Y’landa knows her worth and isn’t afraid to call out hypocrisy. Adds her own ambitions and desires to the swirling chaos of Xavier’s world.

Title : Amadeus Presented By : Beenleigh Theatre Group Genre: Drama / Period Biography Synopsis: Set in 18th-century Vienna, Amadeus dives into the fierce, private war waged by court composer Antonio Salieri against both God and the musical genius of Wolfgang Amadeus Mozart. Outwardly dignified and devout, Salieri is consumed by envy as he recognises that Mozart’s childish, chaotic exterior hides a once-in-a-century brilliance he can never match.Through intrigue, manipulation and confession, the play explores jealousy, ambition, mediocrity, faith, injustice and the unbearable weight of knowing you are “good” while standing beside true genius. Mozart’s music underscores the drama, heightening the psychological and spiritual stakes in one of modern theatre’s most gripping works. Audition Date: Sunday 14 December 2025 Audition Time : From 10:00am onwards (individual times allocated via booking) Audition Location and Address: Crete Street TheatreCrete Street, Beenleigh QLD 4207 Audition Self-Tape Due (if applicable) : Video auditions accepted until Friday 19 Dec, 6:00pm Audition Requirements: Register and book an individual audition slot (1-on-1 with the panel). Bring a clear photo of yourself for identification. Prepare a side (scene/excerpt) for the character(s) you feel most drawn to (sides available on BTG website audition page). Be prepared for possible additional side reads or cold reads. Accent requirements: Most characters: general Christian/British accent (early Georgian period). Mozart: general American accent. Salieri: Italian accent not required, but encouraged. Minimum expected standard: strong text work and readiness for a dialogue-heavy, classical-style play. Audition Registration: https://www.trybooking.com/events/landing/1509861 Audition Pack: : https://beenleightheatregroup.com/wp-content/uploads/2025/12/Amadeus-Audition-Pack-FINAL.pdf Performance Dates: Preview: Monday 16 March 2026 – 7:30pm Friday 20 March 2026 – 7:30pm Saturday 21 March 2026 – 2:00pm & 7:30pm Friday 27 March 2026 – 7:30pm Saturday 28 March 2026 – 2:00pm & 7:30pm Sunday 29 March 2026 – Mandatory (likely bump-out / final commitments) Performance Location: Crete Street Theatre, Beenleigh QLD 4207 Rehearsal Dates: First Rehearsal: Sunday 4 January 2026 Ongoing Rehearsal Period: January–March 2026 (through to show week) Rehearsal Times: Mondays – 7:00pm to 10:00pm Wednesdays – 7:00pm to 10:00pm Sundays – 10:00am to 4:00pm Warnings: Mature themes including jealousy, religious conflict, manipulation, illness and death. Some characters may have intense emotional and psychological content and intimate scenes. Performer Age : 18+ Creative Team : Director – Sean Wilson | Assistant Director – Matthew Malachite | Consultant Director – Leo Bradley Production Website: https://beenleightheatregroup.com/get-involved/audition/ Other information: BTG is committed to diverse, inclusive casting, welcoming auditionees of all races, ages, genders, national origins, and lived experiences of disability, within the bounds of the text. Where a character is explicitly BIPOC, LGBTQIA+ or living with disability, BTG prioritises artists with those lived experiences. Successful auditionees must become financial members of BTG ($10 per calendar year), payable before first rehearsal. Applicants are expected to uphold inclusive and respectful language and behaviour at all times. Available Roles/Character Breakdown: Antonio Salieri Playing age: 30–70, Male Court composer and narrator. Intelligent, disciplined, respected, but consumed by envy of Mozart’s genius. Wages a private war against Mozart and the God he feels has betrayed him. Heavy dialogue load; requires strong text work and stamina. Italian pronunciation knowledge beneficial. Wolfgang Amadeus Mozart Playing age: 20–35, Male A brilliant, volatile young composer. Childish, chaotic, energetic, and emotionally raw, yet musically transcendent. Physically and emotionally demanding role with substantial text. Requires American accent. Includes intimacy scenes with Constanze. Constanze Weber Playing age: 20–35, Female Mozart’s wife: spirited, practical, humorous and deeply devoted. Protective of Mozart while also exasperated by him. Needs warmth, strength, and emotional honesty. Includes intimacy scenes with Mozart. Emperor Joseph II Playing age: 30–60, Male Well-meaning but somewhat oblivious Emperor. Polite, agreeable, easily influenced. Provides comic touches while maintaining regal authority. Count Orsini-Rosenberg Playing age: 30–60, Male Senior court official overseeing musical affairs. Traditional, conservative, and resistant to Mozart’s innovation. Polished, political, often in conflict with Mozart’s new ideas. Baron Van Swieten Playing age: 30–60, Male Cultured, intellectual court figure. Wry, philosophical, and dryly witty. Appreciates depth and refinement; an observer with quiet influence. Count Johann Kilian von Strack Playing age: 30–60, Male Rule-bound, courteous member of the Emperor’s circle. Voice of caution and protocol. Helps frame the hierarchical, bureaucratic world of court. The Venticelli (2 roles) Playing age: 20–35, Any gender Fast-talking informants and gossips of the court; function almost like a Greek chorus. Deliver rumour, exposition and “whispers” of Vienna with speed, precision and strong ensemble awareness. Non-Speaking / Doubling Roles (can be doubled with speaking roles): Salieri’s Valet Salieri’s Cook Teresa Salieri (Salieri’s wife) Katherina Cavalieri (Salieri’s pupil) Guiseppe Bonno Servants and Citizens of Vienna

Title: The Taming of the Shrew  — 1950s Italian Mafia Comedy Adaptation Presented By: Coolum Players Theatre Genre: Shakespearean Comedy / Mafia Comedy / Period Reimagining Synopsis: This lively new adaptation of Shakespeare’s The Taming of the Shrew  relocates the story to post-war 1950s Verona, where Italian mafia families rule the streets and loyalty, love and chaos collide.With a focus on bold characters, heightened comedy, and a playful ensemble spirit, this version leans into the stylised glamour and grit of the era — fast-talking mafiosi, smoky bars, sharp suits, and dangerous romance.Actors will explore Shakespeare’s original text through a fun, relaxed, collaborative audition process designed to encourage creativity and spontaneity. Audition Date: 15 December 2025 - 17 December 2025 Audition Time: 6:30pm Audition Location and Address: Coolum Theatre Players Audition Requirements: No monologue required. Auditions will begin with group warm-ups and drama exercises. Actors will participate in a dry read of selected scenes from the original Shakespeare text. Bring curiosity, energy, and readiness to play. All experience levels welcome. Rehearsal Dates: Rehearsals commence late January 2026. Performances Dates: March 2026 Warnings: Contains Shakespearean themes, comedic violence, and stylised mafia content Performer Age: N 18+ Creative Team: Director – Harvey Wolfe Production Website: https://coolumtheatre.com.au/

Keep Yourself Alive: My Life With Queen Toucan Club Festival, PIP Theatre Written by Liam Donnelly Presented by Abadon Productions   Abadon Productions' burlesque show Keep Yourself Alive: My Life With Queen  follows a young lad who first falls in love with the band as a kid, grows up through the halls of QUT, and eventually faces the emotional shift of Freddie Mercury leaving this life. It’s all told through diary narration and a playlist of beloved and lesser-loved Queen tracks, which I absolutely adored — especially Scandal , I Want It All , I Want to Break Free , Another One Bites the Dust , Killer Queen , and The Show Must Go On .   The cast — Eddie Ecstasy, Lacey Mclune, Peaches Velour, Tegan Kelsey, Emma Pruss, and vocalist Natalie Wyld — throw themselves into the material with real commitment. Wyld takes on three songs with confidence and flair, though it is an interesting shift hearing a female voice have a go at Freddie. The dancers are a brave and committed bunch, especially considering this is an amateur burlesque troupe tackling some pretty demanding choreography. There is so much floor work that my knees hurt just watching, plus plenty of hairography, chairography, and full-body commitment — you’ve got to admire their stamina.   The heels look fabulous under the lights, even if the carpeted stage makes them quite wobbly at times. I really love the darker lighting moments where bursts of colour pulse through the space; those scenes are the most atmospheric, giving the choreography a gorgeous silhouette effect.   Choreographically, there are flashes of brilliance… and flashes of “wait, what comes next?” When the cast remembers the steps, it genuinely looks great. But there are sections, especially the big finale Somebody to Love , where timing drifts apart and the energy gets a bit fuzzy. To be fair, the small audience on the night I attended gave the whole evening a dress-rehearsal vibe. A little extra polish and they’ll be in a solid groove for the remaining shows.   The semi-nudity is handled well, with the occasional bit of shock value, but never too risqué. The cast’s willingness to throw themselves into it deserves full admiration and honestly, I can’t fault anyone on that stage. It takes courage to perform burlesque, let alone in heels on carpet, and they’re all doing things most of us would not have the guts to try.   If you’re keen to support emerging burlesque performers and want a new spin on Queen’s music, head along to the remaining Toucan Club festival dates. Bring a friend, fill the room, and give this team the lively crowd they deserve.

Book: David West Read Music: Max Martin and Friends Director / Set and Costume Design: Tayla Simpson Music Director: Steven Days Vocal Director: Jade Enright "This is what happens when you spend THREE DAYS getting to know someone…" Created by Schitt’s Creek writer David West Read, &Juliet asks a simple question: what if Juliet simply does NOT stab herself and die for Romeo? What if Anne Hathaway storms into Shakespeare’s writing session, grabs the quill, and rewrites the whole ending herself? Suddenly Juliet is off to Paris with her besties where new relationships bloom, parents meddle, exes resurrect themselves, and everyone expresses their emotional trauma through the biggest pop anthems of the last 30 years. It is a coming-of-age jukebox musical powered by the catalogue of songwriter Max Martin: Backstreet Boys, Britney, P!nk, Katy Perry, Demi, Ariana, Kelly Clarkson and plenty more! It is knowingly silly, gloriously camp and sneakily heartfelt, with a message about reinvention, second chances and owning your own story instead of someone else’s tragedy. Tonally, the show is pure rom-com chaos stacked with clichés, dad jokes, teen angst, insider theatre winks and that "my parents just don't get me" attitude. It feels like a 2000s sleepover movie sprung to life, sparkly lip-smackers and all. As Juliet, Zara Lassey carries the emotional and vocal spine of the show. I love how she begins scenes physically closed off, head lowered and posture small, which makes her gradual shift into self-belief and confidence really satisfying to watch. And vocally she is a beast. The Britney material in particular sits so beautifully in her voice. She feeds the slow drama of “… Baby One More Time ” and “Oops!… I Did It Again ” with that perfect 2000s pop fizz and agile riffs. Her chemistry with Isaac Brown (May), Morgan Garrity (Angelique) and Rachel Love (Anne/April) forms a fearsome-foursome bestie squad. Their “ Domino ” is a shining ensemble moment, fizzing with fun, harmonies and choreographic punch. And then Zara finally gets to chill later and show off her soft, tender tone in “ One More Try, ” complete with a random Notebook -style boat ride. The show thrives on the "Anne, Will and the quill" framing device. Michael Mills is instantly magnetic as William Shakespeare in “ Larger Than Life .” As a frustrated playwright with an overinflated ego and a boyish charm he has come to rely on, there is something endearingly dorky about his portrayal that I cannot even be mad when he is being insufferable. He unravels hilariously as his wife seizes creative control of his masterpiece. Speaking of, Rachel Love gives Anne Hathaway a "hello fellow kids" energy that is very endearing. Anne is desperate to rewrite not just Juliet’s story but her own, and Rachel plays that yearning with warmth and optimism. The tango dialogue scene with Michael is a particularly inspired directorial choice that physicalises their marital tug-of-war. And then Rachel opened her mouth to sing Celine Dion's “ That’s The Way It Is ” and I practically levitated. She has one of those voices that is lush, clean, and so satisfying on top. As May, Isaac Brown is a revelation. His warm '00s pop tone suits the Britney/Katy Perry/Adam Lambert territory perfectly, and Isaac carries the emotional core of May's storyline with sass, grace and humour. “ Whataya Want From Me ” with Campbell Briggs as Francois is a showstopper: vulnerable but vocally secure and FULL of power. Isaac spends a large portion of the show in a tightly cinched corset across his diaphragm and still manages to deliver huge, sustained belts without sounding strained. His riffs are tasty, never indulgent, and he grounds May’s journey in “I’m Not A Girl, Not Yet A Woman” with a very real sense of "I just want to be seen as myself." Luke O’Hagan is fabulously eccentric as Lance Du Bois, leaning into the comedic width of the role. His “ Teenage Dream” duet with Morgan balances humour and heart beautifully. His costume absolutely sent me too. And if it is possible to roll him and Angelique on already in the bed or run on during a blackout, it would make that particular joke land much harder. As it is, the audience gets the full reveal in stage lights whoops! Liam Gatt storms back into the show as Romeo (king of main character syndrome), blasting into Bon Jovi’s “It’s My Life” like he has been waiting the entire musical for this entrance. His swagger, rock-tenor vocal attack and razor-sharp comic timing sell the role completely. Director Tayla Simpson keeps the stage mostly spacious for choreography, with a two-level balcony structure upstage and glowing Romeo & Juliet signage overhead. The costumes are modern pieces with a renaissance twist: think corsets, vests and ruffs mixed with denim, boots and glitter. April’s wardrobe in particular looks like she has stepped straight out of my Pinterest board and Juliet's final outfit is ICONIC. I found myself craving a bit more from the lighting design to match the pop energy. Don't get me wrong, there are some beautiful patterns, pulsing colours and perfect blackouts, but this is a show that can easily handle even bolder, more theatrical looks. One of the more interesting creative choices is letting many of the cast keep their Aussie accents. It grounds the show firmly in our own backyard and gives the text a cheeky, recognisable tone. At times though it becomes a guessing game of who is aiming for Australian, American or British. It is not a deal breaker, just sometimes distractingly inconsistent in a text that already plays heavily with language and period. This is a show of mostly singing, and Tayla Simpson has chosen her cast very artfully. Across the board, the vocals are incredibly strong. Zara, Rachel, Campbell and Isaac in particular deliver consistently excellent work, and Zara and Campbell's blend is especially dreamy when they sing together. The band sits visibly at the back of the stage, loud and tight, which gives the entire night that live pop concert energy. And honestly, some of these orchestral arrangements are better than the originals. You know how sometimes the Glee cover hits harder? That is what this feels like. BTG productions sometimes struggle with microphones, but here the sound is surprisingly solid hooray! Occasionally the ensemble sings a touch too loudly from offstage, but I do prefer enthusiasm over timid hesitation in a show like this. There are a lot of songs crammed in, but they never feel too random. Numbers pop up, do their storytelling job and move on before they outstay their welcome. Highlights include: Blow by Ke$ha, which explodes with club energy, party lighting and choreography that actually feels like a wild night out. Although was I the only one who thought Juliet would rise into the air on the chandelier? Show Me Love by Robyn , where a carriage set piece appears, Will is peddling away on a bike with a goofy grin, and the ensemble is absolutely loving their blocking in this one. Someone please make a sign that says “Beenleigh: 10,000 miles”. I Kissed A Girl by Katy Perry , which is a true triple threat moment by Campbell and Isaac: killer vocals, crisp choreography and sizzling chemistry. Problem by Ariana Grande / Can’t Feel My Face by The Weeknd, a sharp, punchy mashup with strong down beats and really effective lighting choices. Backstreet’s Back by The Backstreet Boys , gleefully tackled by an all-denim boy band, pure fan service and original choreo fun. Roar by Katy Perry, a massive closer with high energy choreo and pyro sparks that made me fling out of my seat like a lunatic. Plus a blackout costume quick change that is so smooth it feels supernatural! If anything, the one number that feels slightly undercooked at present is " Confident" by Demi Lovato. It is one of the biggest power anthems of the night, and while it sounds excellent with some sharp choreographic choices, I think we should get more than a slow walk downstage at the end. More drama, higher stakes (should May be witness?), and a greater sense of the song exploding out of the cast. The frame is there. It just needs the storytelling dial turned up. There are a couple of pitchy moments in " Since U Been Gone" , but it is a beast of a number even for industry professionals. The attitude is spot on though, and the girl gang energy absolutely sells the scene. We must remember that these songs are written for the lungs of Demi, Kelly, Celine, Ariana, P!nk Jessie J... So when a Brisbane community cast even attempts them and slays , it is impossible not to cheer! &Juliet is not here to wallow in tragedy. It is here to celebrate joy, identity and rewriting your life. The show repeatedly reminds us that a wedding does not always equal a happy ending, that parents do not always know best and that living honestly sometimes means breaking things open first and living with the chaos it may cause. The audience laughs, gasps and sings along (sorry not sorry). For a night of big vocals, bigger feelings and a story that insists your life does not end with one boy on a balcony, BTG’s &Juliet is absolutely worth the ticket. If you are a fun person, you are going to have a fun time, I promise! Tickets available here

Book by Kristina Redwood & Louella Baldwin Music & Lyrics by Your Man Alex Smith Co-Directors: Hannah Martin & Dominic Bradley Choreographer: Rachael King Music Directors: Rhea Basha & Alex Smith “You shouldn’t have to convince someone to love you.”   Phoenix Ensemble welcomed audiences to the world premiere of Antidote , a new Australian rom-com musical about two sisters, Olive and Darcy, trying to navigate the maddening (and occasionally disastrous) world of love. Olive and Darcy are both searching for that elusive spark... But Olive’s heart has inconveniently latched onto someone completely off-limits, Darcy discovers her heart fancies not one, but two people at once. As wedding plans collide with surprise confessions, queer awakenings, brutally honest friends, steamy dreams, panic attacks, and the universal desire to be chosen, these two learn that the road to love is anything but straightforward!   The theatre had a lovely buzz when I arrived. You could tell how much it meant to the community to see a brand-new Australian musical created and performed by our own. The set, made up of empty photo frames, cube blocks, and a sprinkle of small props, created a clean, flexible canvas that could shift from a coffee shop to a nightclub to a living room. The show also leans heavily (and realistically) on phones for communication between characters. In future productions, I could absolutely imagine them projecting the screen POVs like a high-tech crystal ball to make everything clearer and more immersive for us.   You can't have a rom-com without some sibling drama, a forbidden crush, and a dating disaster, right? Antidote packed all of that into just the first Act. The opening song, One Thing , launched the show with the big question we all ask: What do you really want from a relationship? The cast then introduced us to a tangled web of characters who all hang out at the same little coffee shop (probably because they can't afford therapy). Kristina Redwood was so relatable as Olive: recently dumped, clearly miserable, and trying (but failing) to appear happy for her newly engaged friends Brittany and Spencer. You could sense her emotional exhaustion... This is a character who needed a hug, a nap, and maybe a couple of weeks in Bali. Kristina gave Olive some beautiful musical moments and had a great knack for finding humour in tension breaks. What made her performance stand out was how real she played. Olive wasn’t a caricature. She was everyone who's ever been blindsided by a breakup, or fallen for the wrong person, or put on a happy face for a friend’s big news while quietly falling apart, or been totally clueless about who’s actually right for them. Louella Baldwin brought a whirlwind of charm, chaos, and queer panic to Darcy . They played the character as someone flirty, fun, and absolutely averse to stillness. Lou's performance had a bright, magnetic energy, and they landed the comedic beats with ease. Their voice had some strong, punchy chest-voice moments and a clear tone that fit Darcy’s emotional outbursts. The panic attack scene with Austin was one of the show’s most honest beats. It was intense, vulnerable, and... sadly relatable lol. Chapter One , Darcy's duet with Kaitlin Evans as Zoe, was an absolute favourite of mine. Opening with an adorable harpsichord moment, the duet blossomed into a tender, delicate number. Kaitlin, though not onstage often, made every entrance count with their natural acting and a beautiful vocal tone. Daniel Lelic  made a memorable impact with his limited stage time too. His duet Chill  with Louella was one of the funniest numbers of the night — a playful, riffy, belty narrative where two people try to interpret each other's intentions through the universal lens of “Netflix and chill.” Daniel’s vocals were crisp, confident, and exciting, and his chemistry with Louella made their scenes pop. What really stood out was how genuine Darcy’s connection felt with both Austin and Zoe. Each of them brought out a different side of Darcy, and I was cheering for both couples because they genuinely made each other happy. Jeez, I wish I  had two people in love with me and couldn't decide between them! Dang. As Brittany and Spencer, Priya Shah and Christopher Batkin were perfectly cast as the dorky, eager-to-please newly engaged couple. Their love felt earnest, even if their communication wasn’t always on point. Which brings me to Café Chaos, a scene that  showcased Chris’ great voice and anxious energy. The song was bouncy and witty, even though sound-level issues softened its full impact. Together, they formed a couple you'd definitely cheer for, even when they were emotionally worlds apart. Reagan Warner gave a lovely, down-to-earth performance as Connor, Olive's go-to best friend. His line “leave that cruel voice outside just for tonight” landed with sincerity and showcased what made his character so likeable. His naturalism made the friendship between Connor and Olive feel truly supportive and comforting. In a cast full of spiralling romantics, Reagan became the steady anchor — the one person you could count on to tell you the truth firmly and without (much) judgment. And Hannah Macri  as Miles was pure joy. They seemed to do every job in Brisbane — barista, waiter, tailor, tango teacher, florist, celebrant, emotional support human — and excelled at all of them. Honestly, I bet their name was secretly jotted down in the stage manager’s script with a note saying “If all else fails… Hannah.” Their vocal moment in 5, 6, 7, Wait!  was brilliant, and their belt-heavy rock solo Tough Love  really packed a punch. Hannah’s comedy as the overwhelmed waiter in the accidental double-date sequence (a full Mrs. Doubtfire moment) had me cracking up!   Your Man Alex Smith’s score was a delightful genre-mash, pulling from disco, rock, pop, folk, musical theatre, and even classical. No two songs sounded alike, yet they all fit comfortably within the same musical universe. Some highlights included: Just For Tonight  – An alcohol-soaked trip to The Beat nightclub where Darcy’s queer feelings suddenly unlock themselves under the pulsing lights. It was fun, flirty, messy, and captured that moment where something shifts inside you before you even realise it’s happening. More Than Words  – Christopher’s beautiful, romantic love anthem where Spencer spirals over choosing the perfect centrepieces. His anxious determination to pick the flowers that prove he knows Brittany, loves her, and wants their life together to be perfect was very touching. The Pachelbel Canon overlap was a clever musical touch too! The Bitter Truth  / Golden – These layered, emotionally charged company numbers had overlapping harmonies and shared tension. Everyone is tiptoeing around each other’s feelings like a melodramatic minefield, singing truths they absolutely did not want to deal with. Antidote  – The soaring title track with a bridge so good I genuinely thought we had reached the finale... only to realise there were still twenty minutes left whoops! Poison - The vicious sibling argument full of insults was fun in concept and staging, but pitchy unfortunately. The direction by Hannah Martin and Dominic Bradley showed a clear understanding of how to keep a small space visually alive. Their choice to have characters remain onstage during scenes they weren’t directly involved in — existing in their own miniature worlds — helped fill the space and created easy transitions between scenes. As brilliant comedic actors themselves, Hannah and Dominic made sure the humorous beats landed with confidence; their instincts in timing-focused sequences were excellent. The double date remained the comedic high point of the show thanks to its tight pacing and well-sculpted farce structure. The nightclub scenes were also shaped with strong atmospheric logic, capturing the emotional overwhelm and sensory overload of those environments. The ensemble harmonies were pretty straightforward, but they often had a tough time, which makes me think the cast could've used more practice with the mics in the space or a bit more time to get the blend just right. I know every performer in this cast can sing well, so I suspect a combination of sound balance, monitoring issues, and the difficulty of the harmonic learning played a part. Sometimes, sticking to unison lines might have worked better when time is tight. But none of this detracted from the sincerity of the performances, and the cast were very well chosen for their characters.   The script by Kristina and Louella was full of sharp, heartfelt writing. Lines like “I know what it’s like to be used and discarded” hit hard, and the show sprinkled humour into all the right places. The world they created was thrilling, over-caffeinated, and a true reflection of how real people go through love and friendship. Some relationships, particularly Olive and Brittany’s friendship and Olive and Darcy’s sisterhood, didn’t always feel as deep as the story required, but a future version could strengthen those bonds easily enough. One thing the script captured beautifully was the interconnectedness  of the characters. Every relationship looped back into another. Everyone was linked to someone. It actually echoed the Brisbane theatre scene with startling accuracy, where everyone knows everyone, friendships overlap with romances, breakups ripple through casts, and the community always has your back. Rachael King's choreography brought a sense of buoyancy and playfulness to the production; her movements aligning with the storytelling well. However, some ballads might have been more impactful with a more restrained and still approach to enhance emotional focus. Quiet mics under loud tracks caused some dialogue to be swallowed, and some lower-frequency voices were difficult to hear. But the main hurdle for Antidote was its length. At roughly three hours with each act around ninety minutes, the rom-com pacing started to drag. Some trims to transitions, repeated beats, or restructuring scenes would help keep all the songs without the stamina fatigue. And as much as I love Phoenix Ensemble, by the time we hit the three-hour mark, my tailbone was complaining HARD. Thank the musical theatre gods that new seats are coming soon! Creating an original musical is one of the most ambitious artistic undertakings a person can attempt, and this team should be incredibly proud. Antidote has heart, humour, relatability, originality, and so much potential.   I left thinking two things. Firstly, these artists are incredibly impressive. Secondly, both sisters are toxic and everyone around them deserves better.

Written by Joshua Hinton Presented by Brisbane Festival in association with QPAC Merrigong Theatre Company Directed and Designed by Leland Kean Photography Tracy Leigh During the Brisbane Festival (my favourite time of year!) I was swept into a fragrant, heart-filled adventure as Joshua and Dominic Hinton invited us to pull up a seat at their family table. A Place in Sultan’s Kitchen  was part biography, part cooking show, part heritage story, and absolutely all heart. It had the entire theatre whispering “oh my god, that smells so good…” in unison. Joshua’s story began as a search for cultural identity, and as he told us, it quickly unravelled into something far bigger. It became an exploration of the many cultures, beliefs, and histories that shaped his family tree. From Iran to India, Sri Lanka to South Africa, and finally to Brisbane’s beloved Sultan’s Kitchen , he wove this tapestry through song, memories, live cooking, and creative use of cameras and spices. The set was lovely with persian rugs, hanging lamps, and a kitchen pantry that felt magical every time he opened it. Live video feeds projected onto the walls and items kept us eager to catch every detail. Vision and sound designer Dominic (also interjecting with some zingers) added subtle soundscapes and clever tech moments that brought the history to life. Josh chatted to us so effortlessly that I genuinely forgot this was a performance and not a friend sharing stories while chopping onions. He balanced humour with honesty, whether it was discussing the tiring repetitive question “where are you from?” or the red flags that appeared simply because of his middle name. He also touched delicately on persecution in Iran, wartime displacement, grief, and the complicated experience of living between cultures. I adored how the ingredients became characters, how spices retold family journeys through World War II, and how recorded snippets of their grandmother held the whole story together. And the multitasking? I have no idea how Josh cooked an entire curry while acting, singing, reminiscing, educating, and cracking jokes. I would have burned the theatre down! Vocally, Josh had a warm, honeyed tone that suited the reflective mood of the piece, especially in the final number, Evergreen , accompanied by Dom’s beautiful guitar and harmonies. It was the perfect ending, gentle, hopeful, and full of love. The show reminded us that smell carries memory, that grief and cooking share similar heartaches ( “how can you enjoy something when you know it’s about to end?” ), and that identity is never a single flavour. We are all fruit salads, as Josh put it; a mix of everything that came before us. I walked out feeling nourished, both emotionally and… well, literally, because they fed us the curry and encouraged us to take home as much as we liked! And it was delicious. More importantly, I felt the love of the family who raised these boys radiating through every moment. A beautiful, sensory, heartfelt feast of a show. Perfect for history lovers, multicultural families, foodies, and anyone who has ever wondered where they fit in this big, complicated world.

Title: Georgy Girl – The Seekers Musical Presented By: On the Boards Theatre Company Genre: Jukebox Musical Synopsis: Georgy Girl  tells the remarkable true story of The Seekers — Australia’s most iconic and internationally successful music group.Judith Durham, a shy teenage vocalist with a golden voice, joins folk musicians Athol Guy, Bruce Woodley and Keith Potger, and together they rise from humble beginnings to become global stars.From Melbourne to London, from heartbreak to chart-topping success, the group experiences soaring highs, personal challenges, and life-changing moments — all underscored by timeless hits including “Georgy Girl,” “I’ll Never Find Another You,” “The Carnival Is Over,” “A World of Our Own,” and “I Am Australian.”Spanning decades of friendship, fame, breakups, reunions and emotional triumphs, this musical celebrates resilience, connection and the enduring power of music. Audition Dates: 7 January 2026 8 January 2026 19 January 2026 20 January 2026 Audition Time: 9:00am – 5:00pm (10-minute individual vocals/acting) 11:30am – General Dance/Movement Call (30 mins) 3:00pm – General Dance/Movement Call (30 mins) Audition Self-Tape Due (if applicable): Video auditions must be received by 20 January 2026. Audition Requirements: Minimum age: 18 years. All auditionees must prepare: Required audition song(s) for the character they’re auditioning for (see role breakdown). One contrasting song of your choice (32 bars), which may be from the show. Bring AUX-compatible or Bluetooth audio device for backing tracks, or sheet music clearly marked. A character side, available via the audition material link. Attend a dance/movement call (in-person auditions only). Details for video audition dance requirements will be emailed after registration. Audition Registration: Via the official audition form: forms.gle/ttL7WcGaaHJrzCxu6 Deadline: 5:00pm, Sunday 21 December 2025 Audition Pack: Available here Performance Dates: Gold Coast Season begins 13 May 2026 and Brisbane Season begins 1 June 2026 Rehearsal Dates: Proposed rehearsal period: 1 March – 12 May 2026 Warnings: Contains adult themes Performer Age: Minimum 18 years. Creative Team: Director – Lyn Pelgrave Musical Director – Robert Clark Choreographer – Sarah Cooper Production Website: https://ontheboards.com.au/productions-2/ Other Information: Lead roles receive an honorarium payment for rehearsals and performances. Ensemble receive an honorarium payment for performances. Casting panel includes the Director, Musical Director, and Choreographer. Callbacks: 8 February 2026 Understudies may be cast at the panel’s discretion. All casting results will be provided in writing. Available Roles / Character Breakdown JUDITH DURHAM Age: 20s–30s Vocal Range: G3–A5 Dance: Moderate–Good An iconic Australian vocalist; shy, gentle, deeply emotive. Audition Songs: #24 The Carnival Is Over and #30 Mama's Got the Blues RON EDGEWORTH Age: 30s–40s Vocal Range: G2–F4 Dance: Moderate English pianist/arranger; sincere, supportive, grounded. Audition Song: #50 Georgy Girl  (bar 65 to end) ATHOL GUY Age: Mid–late 20s Vocal Range: Bass F2–D4 Dance: Moderate Tall, charismatic, businessman of the group. Double bass skills (or mime). Audition Songs: #42 The Carnival Is Over #48 I'll Never Find Another You  (Reprise, bars 8–40) BRUCE WOODLEY Age: Mid–late 20s Vocal Range: Baritone A2–E4 Dance: Moderate Songwriter; thoughtful, creative. Guitar/banjo skills (or mime). Audition Songs: Same as Athol. KEITH POTGER Age: Mid–late 20s Vocal Range: Tenor G2–G4 Dance: Good mover Charming guitarist/banjo player; confident, warm. Audition Songs: Same as Athol/Bruce. JOHN ASHBY Age: Mid–late 20s Vocal Range: B2–B4 Dance: Moderate Tour manager; commanding presence, smooth English accent. Audition Song: #50 Georgy Girl  (bar 65 to end) BEVERLEY SHEEHAN Age: Mid–late 20s Vocal Range: A3–F5 Dance: Moderate Judith’s sister; supportive and grounded. Audition Song: #50 Georgy Girl  (bar 65 to end) EDDIE JARRETT Age: 40s Vocal Range: G2–E4 Dance: Moderate Manager; polished, smooth, English/Welsh influence. Audition Song: #50 Georgy Girl  (bar 65 to end) Ensemble Roles Vocal Ranges: Soprano C4–A5, Alto F3–E5, Tenor C3–A4, Bass F2–F4 Dance:  Good movers required. Ensemble appear in major numbers including Downtown , Glad All Over , Georgy Girl , I Am Australian , and more. Male Ensemble 1  – 40s; Judith’s father (Bill Durham) Male Ensemble 2  – 20s–30s; photographer Robert Whitaker Male Ensemble 3  – 20s–30s; Graham Kennedy Male Ensemble 4  – 30s–40s; Grade Executive Male Ensemble 5  – 20s–30s; Simon Dee Male Ensemble 6  – 20s–30s; American teenage G.I. Female Ensemble 1  – 40s; Judith’s mother (Hazel Durham) Female Ensemble 2  – 20s–30s; Mitzi Gaynor Female Ensemble 3  – 20s–30s; Waitress Female Ensemble 4  – 20s–30s; Ensemble Female Ensemble 5  – 20s–30s; Dusty Springfield

Title: Bleep Quest by Nicky Peelgrave Presented By: Play on Stage Genre: Contemporary Theatre / Youth Theatre / Comedy-Drama Synopsis: What do you do when a bully is swearing in your face at school and threatening to smash you? Kate wishes she could transform into Harriet Hulkinator, her wrestling hero — then she could crush Billy without consequence. But life isn’t a wrestling ring, and fighting back could get her expelled. When Kate discovers something even more powerful than muscles — words  — she realises she may be stronger than she ever believed. Bleep Quest  is a funny, heartfelt story about bravery, finding your voice, and learning that there’s more than one way to stand up for yourself. Audition Date: Tuesday 16 December 2025 Audition Time: 4:00pm - 5:30pm Audition Location and Address: Play on Stage, 97 Fernberg Road, Paddington Audition Requirements: Register for a timeslot via the Play on Stage website. Before applying, ensure you are available for all rehearsals and performance dates (schedule downloadable online). Be prepared to read scenes and take direction appropriate to your age group. Audition Registration: Register online via Play on Stage’s “Get Involved” page. Performance Dates: Friday 27 February – 7:30pm show Sunday 1 March – 10:30am show Sunday 1 March – 3:00pm show Performance Venue: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills Rehearsal Dates: Thursday 15 January  – 9:00am–3:00pm Thursday 22 January  – 9:00am–3:00pm Monday 26 January  – 9:00am–12:00pm Wednesday 28 January  – 5:15pm–7:15pm Wednesday 4 February  – 5:15pm–7:15pm Wednesday 11 February  – 5:15pm–7:15pm Wednesday 18 February  – 5:15pm–7:15pm Wednesday 25 February  – 6:00pm–9:00pm ( Technical Rehearsal at Ron Hurley Theatre ) Rehearsal Venue: Play on Stage, 97 Fernberg Road, Paddington Warnings: Themes include bullying, name-calling, and staged conflict suitable for young performers. Performer Age: Children and young teens (ages 8–14 depending on role). Production Website: https://www.playonstage.com.au/get-involved Available Roles / Character Breakdown: KATE Female, age 8–10 The hero of the story; funny, imaginative, brave, and sensitive. ACTOR TWO   (Male, 9–14 – multiple roles) Billy  – Primary school bully; loud, reactive, insecure. Signor Ferranti  – Dramatic Italian teacher. Mr Spencer  – Classroom teacher. ACTOR THREE   (Male/Female, 9–14 – multiple roles) Mum/Dad  – Kate’s parent. Mr/Ms Lawson  – Drama teacher. Michael/Michaela  – Kate’s best friend. Billy’s Mate  – Schoolyard sidekick. ACTOR FOUR   (Female, 9–14 – multiple roles) Zara  – Kate’s sibling. Granny  – Kate’s grandmother. Mrs Percival  – Office lady. Billy’s Mate  – Schoolyard cohort.

Title: Almost, Maine by John Cariani Presented By: Villanova Players Theatre Genre: Contemporary Play / Romantic Comedy / Magical Realism Synopsis: Set on a cold, clear, moonless night in the remote, mythical town of Almost, Maine, this whimsical and heartfelt play explores love in all its strange, surprising, funny, and deeply human forms. As the northern lights shimmer overhead, the residents of Almost fall in and out of love in unexpected ways: hearts break, bruises heal, relationships change, and magical moments transform ordinary lives. A series of loosely connected, tender, and poignant vignettes, Almost, Maine  celebrates the mysteries of the heart with humour, sincerity, and a touch of sorcery. Audition Dates: Wednesday 17 December 2025 & Saturday 20 December 2025 Audition Time: Wed 7:30pm or Sat 10:00am Audition Location and Address: Villanova Players Hut, 10 Jean Howie Drive, Balmoral Park, Morningside QLD 4067 Not required; submit an Expression of Interest form if you cannot attend in person. Audition Requirements: This is a relationship-driven show, so auditions will be group calls with cold reads to observe how actors interact, listen, and build chemistry. The script is sincere, romantic, and intimate — actors should show emotional truth and connection. Audition Registration: Book an audition time   For questions: email Isabelle Stone at izzystone02@hotmail.com Audition Pack: Available here Performance Dates: 20–22 March 2026 Rehearsal Dates: Rehearsals begin Monday 12 January 2026. Rehearsal Times: Mondays – 7:00pm to 9:30pm, Wednesdays – 7:00pm to 9:30pm, Sundays – 11:00am to 4:00pm Warnings: This production includes: Intimacy between various couples, characters undressing to undergarments (Dave & Rhonda). Adjustments to intimacy and comfort levels will be discussed with the creative team. Performer Age: Seeking young adult actors, able to portray characters aged 20–35. Creative Team: Director – Isabelle Stone, Assistant Director – Ella Uhlmann Production Website: https://www.villanovaplayers.com/auditions Available Roles / Character Breakdown: Casting six actors — three male-presenting and three female-presenting  — each portraying multiple characters. Male Characters Pete  – Pessimistic but loving; struggles to express emotion. Steve  – Kind, open, physically numb to pain. Jimmy  – Sensitive; heartbreak has silenced him emotionally. Randy  – Rough-around-the-edges; develops feelings for his best friend Chad. Dave  – Soft-hearted and in love with Rhonda. East  – Calm, thoughtful repairman. Lendall  – Collected and steady; trying to understand Gayle. Chad  – Confesses romantic feelings to his best friend. Phil  – Hardworking man whose marriage is strained. Daniel  – Hope’s ex. Female Characters Ginette  – Optimistic, chatty, loving toward Pete. Sandrine  – Jimmy’s ex; composed and compassionate. Gayle  – Long-time girlfriend of Lendall; fiery and emotional. Hope  – Returned to Almost after years away; jittery and unresolved. Glory  – Nervous hiker carrying guilt. Waitress  – Sassy, grounded, meant for Jimmy. Marvalyn  – Guarded nurse in a troubled relationship. Marci  – Overworked, frustrated wife of Phil. Rhonda  – Tough, timid, awkward around Dave. Suzette  – Daniel’s wife.