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Ballet Theatre Queensland – Alice in Wonderland Choreography, Direction & Story:  Clare Morehen Music, Orchestrations & Story:  Lucas D. Lynch Costume Design:  Rebekah Ellis Set Design:  Josh McIntosh Lighting Design:  Ben Hughes Sound Design:  Wil Hughes Orchestra:  Cadenza Chamber Players Photography:  Quince and Mulberry Studios Fresh off the success of Snow White  and Cinderella  in 2025 — and well-earned Stage Buzzie Awards — Ballet Theatre Queensland has built a reputation for taking familiar stories and refusing to treat them familiarly. With Alice in Wonderland , the company delivers an exhilarating reimagining that whisks Lewis Carroll’s iconic tale out of the rabbit hole and onto a bustling 1930s Hollywood film studio. Think sepia Art Deco and Depression-era grit colliding with neon signage, sequins, and big-band pizzazz. It was the kind of Golden Age glamour most of us only know through classic films and theme-park recreations… until now. From the moment audiences arrived on opening night, there was a very particular kind of buzz in the air: the “we’re about to be thoroughly spoiled”  variety. The whole venue felt celebratory before a single note was played. And when that first note did  arrive? Oh, it wasn’t a gentle invitation. It was a wink and a warning: time is ticking. Lucas D. Lynch’s  score leans into this tension, with ticking motifs and whimsical descending phrases creating a sense of urgency that never quite lets the audience relax; as if the entire world is behind schedule and only Alice is curious enough to question why. It’s an immediate signal that this production isn’t just pretty to look at; it’s purposeful, playful, and packed with ideas. Composer–choreographer collaborations of this depth are a core strength of BTQ. And it shows! Because every scene is purpose-built, musically and physically intertwined, rather than layered after the fact. With performers drawn from 24 different dance schools, this production doesn’t just showcase excellence in dance, it showcases community. The stamina required across this predominantly young cast — from rapid sequences, cramped backstage, stylistic shifts, and relentless pacing — cannot be overstated. Sepia Streets to Technicolour Dreams The ballet opens in a world of restraint and repetition: a muted, post-depression street scene. Alice enters in a brown schoolgirl outfit and boots, nimble and grounded, reading her copy of Alice in Wonderland. Around her, similarly dressed townsfolk drift beneath a dull Hollywood sign, some seeking work, others simply passing time, all caught in the monotony of routine. The action shifts into a classroom overseen by a domineering Headmistress, ruler in hand, complete with an actual blackboard (where did they find one of those nowadays?!). The children are drilled through repetitive, nonsensical exercises, their movement stripped of individuality and joy. As the teacher twirls around the room with oppressive precision, the choreography by Clare Morehen  beautifully captures control masquerading as order. When Alice follows the flustered White Rabbit down a steam grate and straight through the orchestra pit, the transformation on stage is exhilarating! The music slides into jazzy intrigue, the palette bursts from sepia into shimmering colour, and Wonderland is revealed not as the rabbit-hole fantasy we know, but as the luminous imagination of Golden Age Hollywood alive with possibility! This is an Alice  built not on whimsy alone, but on industry, imagination, and the cost of creativity. A Wonderland That Never Stops Moving Once inside the Hollywood film studio, the eye is constantly drawn everywhere at once, thanks to Josh McIntosh’s  set design. This Wonderland never stands still. Dancers move the set pieces themselves with impressive coordination, meaning transitions happen mid-motion and momentum is never lost. Doors appear, dressing rooms materialise, and entire worlds shift before you’ve even registered the last one. The use of double-tiered staging at the rear of the set allows for even more visual surprises, particularly during large ensemble numbers. While one group dazzles front and centre, another is already building the next picture behind them, creating a constant sense of activity that mirrors the frantic energy of a real working film studio. Top hats off to the creative team and dancers (especially given the Concert Hall’s lack of wings or a fly tower!) Around them, neon signs — including a clever glowing “Drink Me”  vanity and “Eat Me”  diner sign — illuminated props, glowing puppetry, and sequinned showgirl flamingos flood the stage. Glamour and Glitter The costuming is nothing short of extraordinary. Rebekah Ellis’  designs lean fully into 1930s Hollywood glamour while still allowing complete freedom of movement. Alice’s transformation into her Wonderland attire is a visual delight: pink satin, golden sequins, and a signature purple ribbon that keeps her instantly recognisable amid the chaos. The attention to detail given to every costume piece of this large ensemble cannot be understated (all the way down to the colourful pointe shoes!) Even the littlest performers — dressed in tiny pink hearts, and dapper suits, they were utterly charming and brought audible “awws” from the audience. The onstage costume changes of the Diva and Alice (clearly necessitated by the venue’s constraints) become part of the spectacle rather than a distraction. Genevieve Schofield’s  Alice absolutely glistens with imagination. From her first entrance, she captures that essential sense of curiosity and wonder, balancing childlike movement with highly assured technique. Schofield blends ballet, jazz, and theatrical storytelling with ease, adapting her physical acting as Alice grows in confidence and agency. Her solo moments shimmer with dreaming and possibility, and she remains the emotional anchor of the production throughout. Jordan Lennon’s  Leading Man ( the Blue Caterpillar ) is suave, commanding, and undeniably cool, complete with a fabulous suit-and-hat design — with actual smoke  coming from his jacket somehow (?!). His movement quality is smooth and confident as he toys with Alice through riddles and gorgeously fluid lifts. As the Mad Hatter-turned-film director, Jayden Grogan  delivers one of the production’s biggest highlights. His bluesy, jazz-laced showstopper crackles with energy and showmanship, unapologetically bold in its eccentricity. The percussion section was clearly having the time of its life, propelling the number forward and pulling the audience along for the ride. One of the evening’s biggest laughs comes courtesy of the diner kitchen scene, led by Matilda Kimlin’s  gloriously frazzled Cook and Scarlett Hutley’s  serenely oblivious Duchess. Paired with a frenetic strings score and staged with gleeful screwball chaos, the comedy hits the mark. Kimlin’s reactions — especially in the later slow-motion dressing-room meltdown — had me absolutely cackling . Tweedledum and Tweedledee — Chloe Hough  and Zara Strelen  — appear as mischievous wardrobe assistants in vibrant dresses, sunglasses, and beautifully styled wigs, stitching themselves directly into the story. As the perpetually flustered film producer, Matthew Erlandson’s  White Rabbit is everywhere at once and utterly brilliant at it. Darting across the stage in a vibrant orange tuxedo, he leaps like he’s got springs in his shoes and captures the stressed-out energy. Kohei Iwamoto  as the Diva’s devoted and long-suffering PA ( King of Hearts ) brings big attitude and big hair to the role. Lily Pietsch appeared as the energetic Cinematographer ( March Hare ), and Hadley Hooper’s adorably exhausted PA to the Director ( Dormouse) , whose commitment to perpetual fatigue was both so real and hilarious. And then there is the Diva ... Sophia Gougoulas  makes an entrance worthy of legend, arriving in a Daimler-style '30s shiny red vehicle. Draped in red fur, crowned with an enormous hat, and adorned with a dazzling heart-shaped necklace, she commands immediate attention… and fear. I literally said “YAS QUEEN”  as she stepped out. Her Queen of Hearts is deliciously dual: impossibly glamorous and soft-focus romantic when the cameras are rolling, yet ruthlessly volatile the moment they stop. Gougoulas navigates this split with relish. A romantic pas de deux in a slinky white gown and bouncy blonde wig opposite Jordan Lennon  reveals her at her most refined — all old-Hollywood grace and luminous poise. This “Action!” sequence is underscored by a score that feels like My Fair Lady  meets La La Land … but better. Then, just as quickly, the glamour unravels. Her off-camera dressing-room meltdown — staged in slow motion — is a masterclass in theatrical comedy. Music, Movement & Spectacle Lucas D. Lynch’s  ambitious score throws its arms wide and fully commits, drawing from jazz, blues, Broadway, and classical with nods to Gershwin, Porter, and golden-era film composers. Lynch makes full use of his expanded brass and winds orchestration, and at times it feels as though every instrument and sound effect at his disposal is in play at once. From smoky nightclub moods to glorious big-band blasts, the score never settles into predictability. The Cadenza Chamber Players rise admirably to the challenge of this demanding new music, navigating its rhythmic complexity with impressive stamina and cohesion. With a full 46-piece orchestra in the pit, the sound has a cinematic sweep rarely heard in dance productions of this scale. Filmic sound effects — including the whirr of a rolling film reel — heighten the Hollywood illusion and immersion, while Ben Hughes’  lighting design expertly guides the audience through the visual feast, drawing the eye precisely where it needs to be amid constant motion and layered staging. The choreography by Clare Morehen features extensive use of canons, particularly in the feathered fan sequences, creating ripple effects across the stage that are both visually thrilling and technically demanding. Full-throttle jazz explosions accompany kicklines, parasol and feather-fan movement, and exuberant Charleston sequences (while wearing pointe shoes I might add!) Every number somehow manages to top the last. A particular highlight is the Cheshire Cat — a large, glowing, fragmented puppet. Cleverly concealed puppeteers and low lighting create the illusion of floating, disembodied body parts and a mischievous grin, prompting audible gasps from the audience. It’s theatrical magic at its most delightful, and yet another reminder of the ingenuity on display throughout this production. The courtroom scene swings into a deeply jazzy blues groove, anchored by a sultry bassline and shimmering cymbals that ooze drama. From there, the production launches headlong into its finale, erupting into glorious, organised chaos. Hats off to Stage Manager Emma Healy , because the sheer coordination required in these final moments is breathtaking. With onstage costume changes, fast-moving set pieces, and a cast pouring in and out of the action, the energy never drops. I found myself holding my breath, acutely aware that just beyond the makeshift wings there must have been absolute mayhem. Alice returns to a world that appears unchanged... but she is not the same girl who left it. Inspired, emboldened, and full of possibility, she pulls out a notebook and begins to write. It’s a simple, quietly powerful ending that lands beautifully, reinforcing the production’s central message: that adventure can be found through books, through imagination, and through the act of storytelling itself. I couldn’t agree more.

Heathers: The Musical – Teen Edition Presented by BG Performing Arts Director : Sam Caruana Music Director: Kate Baxter Choreography : Bella Gordon Photography : By Brit Creative There's a certain excitement when you walk into a jam-packed (and pitch-black!) theatre for a youth production, knowing you're about to see a ton  of talent on stage. That buzz was undeniable at Heathers: The Musical – Teen Edition , with a crowd of about 300+ eager folks ready for a chaotic ride through the halls of Westerberg High.   For the uninitiated, Heathers  is a darkly comic coming-of-age musical, based on the cult classic film, set within the ruthless social hierarchy of an American high school in the 1980s. At the top sit the three immaculate, terrifyingly powerful Heathers, ruling the school with colour-coded confidence and casual cruelty. Enter Veronica Sawyer, an awkward outsider who suddenly finds herself absorbed into their elite clique, along with all the moral compromises that come with it. When she meets the mysterious and volatile J.D., teenage rebellion escalates into something far more dangerous, forcing Veronica to confront popularity, power, and the very real consequences of going along with the crowd. The Teen Edition keeps the show’s sharp wit and emotional core but puts a little bubble wrap around its more risqué bits for the younger performers. That said, it is still very much Heathers . The “cleaned-up” script leans on creative synonyms, sometimes hilariously so ("Oh-my-god!"), yet still includes references to suicide, violence, abuse, implied hanky-panky, and good old-fashioned teenage terrorism. Under the direction of Sam Caruana , with energetic choreography by Bella Gordon  and musical direction from Kate Baxter , this production embraced the dark humour and emotional weight of the material while showcasing just how much these performers could handle.   The stage was absolutely packed with talented performers tackling notoriously demanding material with impressive stamina. Full-cast numbers were a major highlight. Candy Store  was expanded into a large ensemble moment with the Heathers front and centre, while Big Fun  burst with high-energy choreography, including ambitious floor chorie that showed off both skill and endurance. Shine a Light  offered a softer tonal shift, with glowing hand lights adding a cool touch!   Raine Barr  led the show as Veronica Sawyer, delivering consistently strong vocals throughout. Her performances of Beautiful  and I Say No  were as smooth as butter, with riffs and tone that could make even the toughest critic swoon. While Fight For Me  sounded effortless and was elevated by the hilarious slow-motion fight sequence. Dramatically, Veronica was played with a more blasé, laid-back approach than is often seen, which meant some jokes did not quite land as strongly as they could have. From the back of the theatre, some dialogue and lyrics were difficult to catch. Clearer articulation would lift Raine's performance further, though vocally she completely carried the show with confidence. As J.D., William Piper delivered an intense and committed performance that only grew stronger as the show progressed. Freeze Your Brain  had a cool, quiet edge, though vocal fatigue became noticeable as the night went on, with Raine carrying much of Seventeen . By the time William reached Meant to Be Yours , his acting was so intense you could practically see steam coming out of his ears. The clenched jaw, barely contained anger, and laser-focused intensity were genuinely chilling. The tension he held in his body was unsettling, and perfectly suited the volatility of the role. Among the Heathers, Amy Davidson ’s queen bee Heather Chandler stole the show, owning the stage with her confidence and killer vocals. Zofia McGuinness was dynamite as Heather Duke, especially during I Will Never Shut Up Again , where she joined the whole cast with feisty choreography. Tilly Kelly  wowed everyone with a stunning rendition of Lifeboat , smoothly transitioning from a nervous vulnerability to a vocal powerhouse, showing off excellent dynamic contrast. Rose Hancock  gave a beautifully nuanced performance as Martha, with Kindergarten Boyfriend  emerging as one of the emotional highlights of the night. Her gentle tone, clear storytelling, controlled vibrato, and dynamic range completely held the room. A genuinely lovely performance of a heartbreaking song. Comic relief was in very good hands with Toby Bailey and Alex Townsley as Kurt and Ram. The casting felt spot-on, with bold physical comedy and fearless commitment. I was genuinely surprised to see You’re Welcome  included, but it landed with big energy. My Dead Gay Son  was a clear crowd favourite, with Hamish Treeke and Zander Hutson clearly having a blast leaning into the song’s absurdity. Isabella Bonaventura’s Ms Fleming brought a funky, humorous presence that added plenty of personality. Visually, the show was clear, colourful, and easy to follow, especially impressive given the holiday workshop time crunch. The two-level set helped create height and gave most of the cast a chance to be seen, with lockers and simple props like croquet mallets, a 7/11 counter, and a piñata adding to the storytelling without overcomplicating things. I also loved that the ensemble costumes avoided over-the-top 80s clichés. That said, sightlines became a little tricky during extended floor choreography, particularly without tiered seating. Sound was the biggest challenge of the night, with underscoring sometimes overpowering vocals and a few microphone hiccups along the way. Even so, the cast never dropped their energy, pushing right through to the final bow and earning loud, well-deserved applause.   Ultimately, Heathers: The Musical – Teen Edition  by BG Performing Arts was a vibrant, ambitious production overflowing with talent. These young performers tackled a difficult score and complex themes with courage, commitment, and connection. It is always exciting to watch emerging artists push themselves into new territory, and many of these performers are absolutely ones to watch.   (Also, a special shout-out to the ensemble character who became pregnant and ended the show cradling a baby. Iconic long-form storytelling. No notes.)

Beauty and the Beast: The Broadway Musical Brisbane Musical Theatre Director : Jesse Bradford Musical Director:  Mark Beilby Choreographer:  Ava Moschetti Lighting Design:  Spencer Mitchell Costume Design : Geena Lukin & Andrea Halter Photography : Artist Focused Brisbane Musical Theatre wrapped up their season of Beauty and the Beast with a packed final performance, after the earlier show I was supposed to attend was unexpectedly cancelled due to a power outage (thanks, Brisbane weather!). The closing night turnout was massive, with a crowd so warm and supportive, it could have melted even the Beast’s heart. Everyone was eager to finally catch this beloved Disney classic and cheer the cast across the finish line! From the moment the overture began, it was clear this production was reaching wholeheartedly for fairytale magic. The projected backdrops were a thing of beauty, clearly establishing the village, castle, woods, and tavern with storybook charm. The opening sequence featuring the Enchantress and the Prince was particularly effective, using costume, fog, narration, and lighting to create a strong sense of atmosphere that pulled the audience into the story right away. The opening number, “Belle,” seemed a bit overwhelmed by its own enthusiasm. With a very full stage, a few missed lines/early microphone hiccups, the scene seemed quite hectic, but undeniably bustling! The little village set pieces were a thoughtful inclusion, but with such a large ensemble, the cast seemed like they were trying to squeeze one more shopping trolley down an already crowded grocery store aisle. Musically, the show was in excellent hands under Musical Director Mark Beilby, whose orchestra delivered a polished and superb performance. The iconic sweeping score was handled beautifully, and the ensemble vocals in the large group numbers were consistently strong — something Brisbane Musical Theatre does particularly well. A standout of the evening was Reagan Warner  as Gaston, who entered to immediate cheers and clearly knew how to command the stage. His voice acting, physicality, and commitment to character were spot on. His bravado-filled solo “ Me ” was staged with playful flair, allowing his rich tone to shine. “ Gaston ” was a riot: full vocal power, coupled choreography, and clever use of tankards and props. While “ The Mob Song ” carried real urgency and menace (his eyebrows doing some very heavy lifting indeed!). And though the “ Gaston Reprise ” between Reagan and Alex Sturdee  had great energy and character interplay, the harmonies were not present. Nonetheless, Reagan looked like he was having an absolute blast playing the villain. Dan Pohlman’s was a roaring success as the Beast. He used gruff vocals, heavy movement, and growls to establish presence, with the elevated staircase staging cleverly enhancing his authority. Vocally, Dan was excellent; “ If I Can’t Love Her ” was beautifully sung and well-staged and lit. As the character softened, his awkward, dorky charm emerged, making the Beast’s transformation feel genuine by the end. The final fight with Gaston was intense and impressively committed — including Dan yeeting himself down the stairs like he was in an action movie! Leah Harford was lovely as Belle, showing off some impressive vocal power and a consistently strong belt. Her performance of “ Belle Reprise ” had that classic American princess style, while “A Change in Me ” highlighted her contemporary musical theatre strengths. Dramatically, Belle’s emotional journey felt a bit surface-level. Numbers such as “Home”  lacked authenticity and emotional shaping, which felt more like a blocking or directorial matter than a lack of effort from Harford herself. The enchanted household characters brought warmth and humour in abundance. Jose De Andrade leaned fully into theatrical melodrama of Cogsworth, while Michael Chazikantis  was a wonderful highlight as the funny, sincere, and flirty Lumière with an excellent French accent, comic timing and an easy rapport with his fellow cast members. Together, their performances balanced charm and heart beautifully, grounding the humour without tipping into caricature. Annie Sutherland’ s Babette matched them well with her confident accent and playful characterisation. Lauren Bull played the sassy wardrobe Madame with her beautiful operatic tone, while Melissa Beilby’s  Mrs Potts offered warmth and sincerity, particularly in “ Beauty and the Beast .” Chip — a shared role between Olivia Cowdrey and Ashton Nowers  — earned plenty of well-deserved “awws” from the audience. Alex Sturdee’s  Le Fou made hilariously unsettling expressions that, on reflection, felt absolutely spot-on for the goofy character. The Silly Girls ( Elloise O’Connell, Emma Johnstone, and Tobey Ogilvie ) lived up to their name — perky, intense, and delightfully unhinged — they injected bursts of energy whenever they appeared. As Maurice, Barry Haworth  was sweet and kooky, though his delivery sometimes lacked genuine urgency. “ No Matter What ” would have benefited from emotional shaping to give the moment more weight and some movement to give audience a better view of both characters. Choreography by Ava Moschetti  was ambitious for the size of the stage and the cast! “ Be Our Guest”  delivered excellent ensemble vocals and high energy, though spacing around the large staircase set piece was tight. The featured dancers impressed with fouettés and tap moments, even if the costumes lacked that essential visual dazzle for me. “ Human Again”  was vocally gorgeous, though movement was minimal again. The wolf stage combat was a howling success, with choreography that packed a punch. “ Beauty and the Beast ( Tale as Old as Tim e)” was sweet like a sugar-coated donut. Director Jesse Bradford  clearly leaned into family-friendly fun, and many scenes looked like an absolute joy to perform. The castle set was a standout, particularly the clever transformation of the West Wing into the library. The wilting rose was a lovely effect. While most leads entered and exited fully in character, the ensemble at times appeared to be searching for their marks. The makeshift wings were clearly a circus side stage — so maybe letting characters come in through the aisles or downstage entrances could have helped ease congestion. Shoutout to the crew for handling those frequent scene changes! It did cause the runtime to feel long, with some moments dragging as a result, but they clearly did their best. Some spoken dialogue also felt a bit bland, which is understandable in a story audiences have known for over 30 years, and likely far more exciting for the younger audience members who are very much the target demographic. Speaking of, when it comes to kids the lack of tiered seating can affect sightlines, but they worked well for me except during the final "death" scene. Costume design by Geena Lukin and Andrea Halter  shone most clearly in the furniture character costumes. The Beast, Gaston, Le Fou, Lumière, Cogsworth, Madame, Mrs Potts, and Chip were all thoughtfully designed and well suited for movement. Belle’s blue-and-white village dress and later pink and yellow ballgowns were less effective, with fit and styling choices that didn’t quite serve the character as well as they could have. Lighting design by Spencer Mitchell  was effective overall, contributing strongly to the show’s atmosphere. I did find the extended strobe effects during the transformation quite intense, and audience members seated close to the speakers (myself included) may have found the volume overwhelming at times. Despite this, I thoroughly enjoyed the commitment and energy of the wonderful cast, who maintained strong momentum through to the final bow, with the show met by generous applause from the audience. Beauty and the Beast  is a demanding musical — vocally, technically, and logistically — and Brisbane Musical Theatre approached it with clear affection. With several standout performances and moments of theatrical excitement, this production continues BMT’s commitment to delivering accessible, family-friendly musical theatre for Brisbane audiences.

Title:   A lice in Wonderland Presented By:  Village Green Theatre Group Genre:  Family Theatre / Adventure / Musical Adaptation Synopsis: Step through the keyhole into a magical world filled with curious characters, eccentric tea parties, and whimsical adventures in this theatrical adaptation of Alice in Wonderland . Join Alice as she navigates Wonderland’s colourful cast - from the Cheshire Cat to the Queen of Hearts - in a playful and imaginative journey for all ages. Audition Date:  February 15th, 2026  Audition Time:   12PM – Ensemble 2 PM – Leads & Supporting  Audition Location and Address:  Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Audition Requirements: Register online via the “Book an Audition” link on the VGTG auditions page. Prepare to read from provided scenes and participate in movement/ensemble auditions as needed (details in the audition pack) . Check the downloadable Audition Pack for character sides and preparation materials. Audition Registration: Book your audition here Audition Pack: Alice in Wonderland Audition Pack Performance Dates: 3rd - 11th July, 2026 Performance Times: Friday & Saturday evenings 7PM Saturday matinees 2PM Performance Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Rehearsal Dates and Times: Wednesdays & Thursdays - 7PM – 9PM Sundays - 1PM – 5:PM Rehearsal Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Warnings: General community theatre production suitable for family audiences. Production Website: Village Green Theatre Group - Alice in Wonderland Other information: Call‑backs are scheduled for 19 February 2026 from 7:00 PM for selected auditionees. Village Green Theatre Group is a community theatre with productions typically staged in Logan/Logan Village area - join their mailing list for updates on auditions, classes, and shows. Available Roles/Character Breakdown: Alice - Female, 14+, mezzo-soprano, lead role Cheshire Cat - Any gender, 14+, mezzo/tenor range, lead role Mock Turtle - Any gender, 14+, mezzo/tenor range, lead role Caterpillar - Any gender, 14+, mezzo/tenor range, lead role Queen of Hearts - Any gender, 14+, mezzo/tenor range, lead role White Rabbit - Any gender, 14+, lead role Mad Hatter - Any gender, 14+, alto/baritone range, lead role March Hare - Any gender, 14+, lead role Doormouse - Any gender, 14+, lead role Tweedle Dee & Tweedle Dum - Any gender, 14+, lead role Jack/Knave of Hearts - Male, 14+, supporting role King of Hearts - Male, 14+, supporting role Dodo - Any gender, 14+, supporting role Two, Five & Seven of Hearts - Any gender, 12+, supporting role Loreena/Mother - Female, 12+, ensemble Cards Ensemble - Any gender, 10+ Flowers Ensemble - Any gender, 10+ Characters Ensemble - Any gender 10+

Title:  Murder on the Nile Presented By:  Sunnybank Theatre Group Genre:  Murder Mystery / Thriller / Stage Play Synopsis: Agatha Christie’s classic mystery unfolds aboard a honeymoon cruise down the Nile where heiress Kay Ridgeway’s idyllic voyage turns deadly. With a cast of intriguing and suspicious passengers all with motives to kill, Canon Pennyfather must unravel the truth before another murder occurs. Audition Date: February 1st, 2026 Audition Time:  From 10AM Audition Location and Address:  Sunnybank Theatre Group, 14 Mains Rd, Sunnybank QLD 4109 Audition Requirements: Audition materials for each character can be found on the STG Website Auditions page. Audition Registration: Register for auditions here Performance Dates: May 1st - 16th, 2026 Performance Times: Friday & Saturday evenings Saturday & Sunday matinees Performance Location: Sunnybank Theatre Group, 14 Mains Rd, Sunnybank QLD 4109 Rehearsal Dates: TBC Rehearsal Times: TBC Rehearsal Location: Sunnybank Theatre Group rehearsal space, 14 Mains Rd, Sunnybank QLD 4109 Creative Team: Directed by Julie Jones & Cristina Hope Production Website: S unnybank Theatre Group - Murder on the Nile

Title: Midnight Murder at Hamlington Hall Presented By: Centenary Theatre Group Genre: Comedy / Murder Mystery Synopsis: It is opening night of director-writer Shane Tweed’s new murder mystery Midnight Murder at Hamlington Hall. Seven of the amateur theatre company’s cast are down with the dreaded lurgy, so the director, two remaining actors, and whoever else Shane can co-opt must pitch in to continue the tradition of “the show must go on.” Juggling nerves, props, and absurd miscasting, will they manage to pull it off - or will everything go horribly, terribly, and awfully wrong? Mark Kilmurry and Jamie Oxenbould’s comedy looks behind the scenes of amateur theatre, where luck, determination, and unbridled confidence rule… or ruin the day. Audition Date: Saturday January 24th, 2026 Audition Time: From 10AM Audition Location and Address: Centenary Theatre, corner of Halsbury and Queenscroft Streets, Chelmer Performance Dates: May 9th - 31st, 2026 Performance Location: Centenary Theatre, Chelmer Creative Team: Written by Jamie Oxenbould and Mark Kilmurry Directed by William McCreery-Rye Other Information: Any enquiries regarding roles can be directed to the director at willchar04@outlook.com  or 0410 944 614 Available Roles / Character Breakdown: Margaret Matherson (Nurse to the Parson on his final days) & Madame Esmerelda (A clairvoyant) - same actor for both roles Ingrid (A seafarer), Lady Smythe (Local society matron) & Mrs Gloria Whittington (Actress, a favourite of the Parson) - same actor for all three roles Benson (Butler), Giles (Farmer who runs Hamlington Estate), Taffy Hemingway (Playboy distant relation) & Colonel Muster (Served in the RAAF with the Parson) - same actor for all four roles Ernest Black (Detective who enjoyed murder mystery games with the Parson) & Doctor (Appears in scenes 5 and 6) - same actor for both roles above Mr Barton (The Parson’s solicitor) & Doctor (Appears in scenes 1 and 3) - same actor for both roles above Maid – Played by no on-stage actor

Title: Six Characters in Search of an Author Presented By: Ad Astra Theatre Company Genre: Absurdist Drama / Modern Classic Synopsis: Six Characters in Search of an Author  begins as an ordinary rehearsal until six mysterious figures emerge, demanding their unfinished story be told. Abandoned by their author, these Characters are driven by an unrelenting emotional truth that clashes with the Director’s attempts to theatricalise their lives. What unfolds is a provocative collision between reality and performance, where memory, identity, and illusion fracture. Pirandello’s landmark work interrogates who owns a story, what truth really is, and how far we will go to be seen and heard. Audition Date: Saturday 17 January 2026 and Tuesday 20 January 2026 Audition Time: Saturday 17 January: 9:00am – 5:00pm and Tuesday 20 January: 7:00pm – 10:00pm Audition Location and Address: Ad Astra – Galaxy 210 Petrie Terrace, Brisbane Audition Requirements: Prepare two short monologues (approximately 2 minutes each): One dramatic monologue demonstrating emotional depth and truth One comedic monologue showcasing timing, playfulness, and physicality Audition Registration: Email applications to creatives@adastracreativity.com Please include: Recent headshot Current CV (Word document or Google Doc only) Clearly specify the role(s) you wish to audition for Performance Dates: 14 May – 4 June 2026 Performance Times: Thursday & Friday: 8:00pm, Saturday: 7:30pm, Saturday Matinee: 2:00pm, Plus two weekday matinees at 11:00am Performance Location: Ad Astra – Galaxy 210 Petrie Terrace, Brisbane Rehearsal Dates: From 1 February 2026 through to opening Rehearsal Times: Generally two weeknights and one weekend day Table Read: Sunday 1 February, 12:00pm – 3:00pm Warnings: Themes include trauma, emotional distress, and intense family dynamics Creative Team: Director: Heidi Gledhill Assistant Director: Colin Smith Production Website: https://adastracreativity.com Other information: This is a co-op production Performers receive a share of ticket sales after expenses Callbacks: Thursday 22 January 2026, 7:00pm – 10:00pm Casting at this stage is for the Six Character family only CVs for play cast/crew roles are not being accepted at this time Available Roles/Character Breakdown: The Six Character Family The Father  – Pre-cast The Mother:  Quiet, grief-stricken, emotionally raw. She lives inside suffering rather than analysing it. Grounded in feeling, overwhelmed by pain that is constant and unresolved. The Step-Daughter:  Fierce, volatile, magnetic. Sarcastic, seductive, cruel, and wounded. She weaponises mockery and sexuality as defence, oscillating between rage and laughter. The Son:  Withdrawn, contemptuous, emotionally sealed. Cold anger, resistant to catharsis. He rejects theatricality and refuses to be shaped or explained. The Boy:  Silent, watchful, unsettling. Exists on the margins. A young-looking performer (teen appearance required) whose stillness carries inevitability. The Little Girl:  Fragile, instinctive, largely non-verbal. Primary school-aged child. Vulnerable and exposed, embodying neglect and danger.

Title: The Dark Room Presented By: Ad Astra Theatre Company Genre: Drama Synopsis: The Dark Room  is a tense and unsettling drama set in a remote motel room in the Northern Territory. Over several nights, the lives of six people intersect, gradually revealing a devastating incident at the centre of the story. As timelines overlap and perspectives shift, fragments of truth expose deep failures of social and institutional responsibility. Beyond its immediate narrative, the play is a powerful metaphor for Australia’s dark past — confronting themes of violence, erasure, complicity, and the cost of silence. Audition Date: Friday 23 January 2026 and Saturday 24 January 2026 Audition Time: Friday 23 January: 7:15pm – 10:00pm Saturday 24 January: 9:00am – 5:00pm Audition Location and Address: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Audition Requirements: Prepare one dramatic monologue of your choice Selected applicants will be sent script extracts to prepare prior to audition Audition Registration: Email applications to creatives@adastracreativity.com Please include: Recent headshot Current CV (Word document or Google Doc only) Clearly specify the role(s) you are auditioning for Performance Dates: 16 April – 9 May 2026 Performance Times: Thursday & Friday: 8:00pm & Saturday: 2:00pm & 7:30pm Performance Location: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Rehearsal Times: Two weeknights and one weekend day Warnings: Themes include institutional failure, violence, and systemic injustice Creative Team: Director: Greg Scurr Production Website: https://adastracreativity.com Other information: This is a co-op production All creatives receive a share of ticket sales after expenses Callbacks: Tuesday 27 January 2026, 7:15pm – 10:00pm Available Roles/Character Breakdown: Anni (40s):  A passionate social worker struggling under systemic limitations Grace (14–16):  A troubled, angry teenager failed by family and government systems Stephen (30s):  A police officer navigating an unfamiliar and challenging environment Emma (30s):  Stephen’s pregnant wife, isolated and without support Craig (40s–early 50s):  A senior police officer under investigation for a death in custody Joseph (18–21):  A young Indigenous Australian man, a victim of the system at the heart of the play

Title:  Macbeth Presented By:  Javeenbah Theatre Company Genre:  Drama / Shakespearean Adaptation Synopsis: Set against the glitz and grit of mid-1900s Las Vegas, this reimagined Macbeth follows a mob enforcer drawn into the city’s gambling underworld. Haunted by visions from slot-machine “witches,” he believes they foretell his rise to power. As ambition consumes him, he descends into deceit, betrayal, and murder, echoing Shakespeare’s original tragedy through a lens of decadence and moral decay. Audition Date:  February 7th, 2026 Audition Time:  From 10:00 am (booked time slots) Audition Location and Address:  Javeenbah Theatre Audition Self-Tape Due (if applicable):  Self-tape submissions accepted via email for those unable to attend in person after completing the audition form Audition Requirements: Prepare a 1-minute Shakespearean monologue or select from the provided audition pieces in the audition pack. Performances should use a General American or New York / Mafia-style accent appropriate to the production. Audition Registration: Audition times must be booked via the online form linked in the audition pack. Audition Pack: Macbeth Auditions Performance Dates: May 9th - 23rd, 2026 Performance Times: Evening performances at 7:30 pm and matinees at 2:00 pm Performance Location: Javeenbah Theatre Rehearsal Dates: From early March 2026 Rehearsal Times: Wednesdays 6:00 pm – 8:00 pm Saturdays 9:00 am – 1:00 pm Additional rehearsals closer to opening Rehearsal Location: Javeenbah Theatre Warnings: Participants over 18 will require a valid Blue Card. Performer Age: Most roles are adult roles. One role may be suitable for a performer aged 16+ with appropriate clearances. Creative Team: Director - Brooke Edwards (BFA Drama, MSecTeach) Production Website: Javeenbah Theatre Company Other Information: All cast members must be financial members of Javeenbah Theatre Company ($10 annual membership fee) Available Roles / Character Breakdown: Macbeth – Gambling-addicted mob enforcer (40s–50s) Lady Macbeth – Casino waitress turned mob wife (40s–50s) Banquo – Honourable mobster (40s–50s) King Duncan – Old-school mob boss (50+) Macduff – Hard-nosed federal agent (30s+) Malcolm – Young exile (16+) Ross – Mobster / messenger (any age) The Mobsters – Hitmen and associates (any age) The Witches (Slot Machines) – Seductive, symbolic figures (any age)

Title: Urinetown Presented By: Tamborine Mountain Little Theatre Genre: Musical Synopsis: Urinetown is a satirical musical set in a dystopian city facing a severe water shortage, where a powerful corporation, Urine Good Company (UGC), monopolizes public toilets, forcing citizens to pay exorbitant fees to pee or be sent to the mysterious "Urinetown" . Audition Date: Sunday January 11, 2026 Wednesday January 14, 2026 (Call-backs/pre-arranged auditions only) Audition Time: 2PM - 7PM Sunday 7:30PM Wednesday Audition Location and Address: Zamia Theatre, 22 Main Street, North Tamborine, QLD 4272, Australia Audition Requirements & Registration: For full info and audition pack please contact Julie Smith (Director) via email (jasmin.smith25@gmail.com) Performance Dates: April 24 - May 9, 2026 Production Website: Tamborine Mountain Little Theatre Other information: TMLT produces multiple plays and community productions each year. Membership, rehearsal schedules, and audition notices can be accessed via their website.

Title:  Roald Dahl’s The BFG Presented By:  Goat Track Theatre Genre:  Youth Theatre Synopsis: Join the magical world of Roald Dahl in The BFG ! This week-long production experience invites imaginative kids to bring this beloved story to life on stage. Over ten weeks of preparation, young performers will develop confidence, learn their lines, and work with professional teaching artists before entering an immersive rehearsal week and delighting family and friends with a creative performance. Audition Date: Sunshine Coast - 31 January 2026 Gold Coast - 15 April 2026 Audition Time:  10:00 am–1:00 pm Audition Location and Address: Sunshine Coast - Northshore Community Centre, 701 David Low Way, Mudjimba Gold Coast - Burleigh Studio, Unit 9/10 Rothcote Court, Burleigh Heads Audition Requirements: Auditions are open to students aged 10–12 (Grades 4–6). Casting and scripts are provided at audition. Specific materials (monologues, songs) are not listed. Audition Registration:  Register via the Goat Track Theatre website Performance Dates: Sunshine Coast - 17 April 2026, 6:00 pm Gold Coast - 10 July 2026, 6:00 pm Performance Times:  6:00 pm (Sunshine Coast & Gold Coast) Performance Location: Sunshine Coast - Northshore Community Centre, Mudjimba Gold Coast - Burleigh Studio, Burleigh Heads Rehearsal Dates: Sunshine Coast - 13th–17th April, 2026 Gold Coast - 6th–10th July, 2026 Rehearsal Times: 9:00am – 4:00 pm (daily) Rehearsal Location: At the same venues as auditions/performances for each region. Performer Age: 10–12 years (Grades 4–6) Production Website: Goat Track Theatre - The BFG Other Information: Participation cost is $995 payable upon casting; covers production elements and costumes Tickets to the show are $45 entry

Title:  Brisbane Presented By:  Ad Astra Theatre Company Genre:  Australian Drama Synopsis: A dynamic and genre-blending new play that shifts from family drama and farce to historical documentary, slapstick and cabaret, ultimately offering a moving coming-of-age journey. Audition Date:  To be advised (anticipated around 10–12 January) Audition Time:  To be advised Audition Location and Address:  Galaxy Theatre, Ad Astra, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare two (2) suitable monologues - one comedic and one dramatic; audition will include cold reads from the script Applicants must email CV (Word/Google Doc) and a recent headshot, and specify desired role(s) Audition Registration: Email creatives@adastracreativity.com  with required materials Audition Pack: Audition Notice Performance Dates:  March 19 – April 11, 2026 Performance Times: Thursday & Friday nights 8:00pm, Saturday 7:30pm, Sunday 2:00pm Performance Location:  Galaxy Theatre, Ad Astra, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates:  To be advised (typically two weeknights & one weekend day) Rehearsal Times:  To be advised Rehearsal Location:  Ad Astra rehearsal spaces Performer Age:  Varies by role (e.g., 18s–40s+) Creative Team: Director - Fiona Kennedy Executive Producer - Gregory Wilken Production Website:   Ad Astra Other Information:  This production is co-op style; creatives share ticket sales after expenses. Available Roles / Character Breakdown: Danny Fisher (14)  - ideally actor in late teens/early 20s Patty/Young Woman (14)  - same age as Danny Frank Fisher / American Pilot / Andy West (18+) Rose / Woman (18+) Annie Fisher (Mother)  - 40s John Fisher (Father)  - 40s Ensemble Roles (various): Stanley, Robbie, Justin, General John Monash, Rose’s father, Prime Minister John Curtin, Winston Churchill, Radio Announcer, Franklin Roosevelt, Douglas Macarthur, Newsreel Commentator, Shop Owner, Publican, American soldiers, Australian soldier.