Title: Money and Friends Presented By: MATES Theatre Genesis Inc. Genre: Australian Comedy / Social Satire / Drama Synopsis: Written by acclaimed Australian playwright David Williamson in 1991, Money and Friends is a sharp social comedy exploring friendship, loyalty, wealth and the uncomfortable truths that emerge when money becomes involved. Set in the fictional coastal holiday resort of Chrystal Inlet, the play follows a close-knit group of nine friends whose relationships are tested when financial hardship strikes. Peter, a kind-hearted mathematics professor, faces financial ruin after helping his brother through bankruptcy. His closest friend and neighbour, Margaret, attempts to rally their wealthy friends to support him, but discovers that generosity is much easier to discuss than to practise. As personal ambitions, romantic entanglements and long-held resentments come to the surface, the group must confront the difference between their professed values and their actual behaviour. Through wit, hypocrisy and uncomfortable revelations, Williamson examines the fragility of friendships when financial security and self-interest are at stake. Audition Date: Sunday 15 November 2026 Audition Time: 10:00am–12:00pm This is a group audition. Applicants may arrive at any time during the two-hour session to participate in script readings. Audition Location and Address: Birkdale School of Arts Hall (Downstairs), 101 Birkdale Road, Birkdale Audition Requirements: Auditions will be conducted through cold readings from the script alongside other actors. No prepared monologue is required. Applicants will read selected scenes from the play. No special accents are required, as this is an Australian play. Performers should be prepared to demonstrate characterisation, script interpretation and the ability to work collaboratively. Applicants of varying experience levels are welcome. Optional StageWorx Script Readings: Two free script-reading sessions will be held before auditions, offering prospective performers an opportunity to familiarise themselves with the play. Saturday 7 November 2026: 9:00am–12:00pm Wednesday 11 November 2026: 1:00pm–4:00pm Location: Cleveland Library, Meeting Room 2, corner of Bloomfield and Middle Streets, Cleveland QLD Audition Registration: Complete the audition form included in the audition pack and email it to info@matestg.org.au with a recent headshot, if available. Applicants should also bring a copy of their completed form and headshot to the audition. The audition form requests: Personal and contact details. Preferred roles. Previous performance or crew experience. Known rehearsal and performance conflicts. Willingness to accept alternative roles or assist backstage. Membership status. Registrations will be accepted until the audition schedule is full. Audition Pack: Download Money and Friends Audition Information Pack (PDF) Performance Times: Friday 12 March: 7:30pm (Opening Night) Saturday 13 March: 2:00pm and 7:30pm Saturday 20 March: 2:00pm and 7:30pm Sunday 21 March: 2:00pm (Closing Performance) Performance Location: Birkdale School of Arts Hall (Upstairs), 101 Birkdale Road, Birkdale QLD Rehearsal Dates: Rehearsals commence Sunday 22 November 2026 and continue until opening night, with a Christmas/New Year break. November–December 2026: Sunday 22 November — First read-through Sunday 28 February - Thursday 11 March — Bump-in and technical rehearsals Rehearsal Times: Tuesday Rehearsals: 7:00pm–9:30pm Thursday Rehearsals: 7:45pm–10:00pm Sunday Rehearsals: 1:00pm–4:00pm Rehearsals will be held at Birkdale School of Arts Hall, initially downstairs before moving upstairs for technical rehearsals and performances. Performer Age: Adult performers. Peter is described as being in his 40s–50s, and Justin in his 20s. Creative Team: Playwright – David Williamson Director – Karen Neale Director Contact: Phone: 0400 170 373 Email: president@matestg.org.au Production Website: https://matestg.org.au/auditions/ Other information: This is an amateur community theatre production. All cast and crew positions are unpaid. Successful cast and crew members must become financial members of MATES Theatre Genesis. Membership Fee: $20 per year, payable by the first rehearsal. Cast members may be required to assist with sourcing costume pieces, props, footwear and personal makeup. Performers must be available for rehearsals, performances and any required publicity activities. Successful applicants will be contacted by phone and/or email, while unsuccessful applicants will be notified by email. Successful cast and crew members must not publicly announce their involvement until MATES has made its official casting announcement. Opportunities are also available for backstage, technical and front-of-house volunteers. Available Roles/Character Breakdown PETER Gender: Male Playing Age: 40s–50s A professor of pure mathematics who is exceptionally kind-hearted and well-liked by his friends. Peter faces financial ruin after helping his brother through bankruptcy. Despite his intelligence and generosity, he finds himself in an increasingly desperate situation. His financial difficulties expose the true nature of his friendships as those around him are forced to decide whether they are willing to help. Performance Requirements: Strong naturalistic acting, emotional vulnerability and the ability to portray warmth, intelligence and financial distress. MARGARET Gender: Female A sharp-witted history professor who is Peter's closest friend and neighbour. Divorced and independent, Margaret is the first to recognise the seriousness of Peter's financial situation and attempts to persuade their wealthy friends to offer assistance. Intelligent, outspoken and socially perceptive, she is also navigating her own romantic life, having recently begun relationships with younger men. Performance Requirements: Strong comedic timing, confident characterisation and the ability to portray intelligence, independence and loyalty. CONRAD Gender: Male A high-profile television reporter and husband to Jaquie. Conrad is professionally successful and belongs to the wealthy social circle whose friendships are challenged by Peter's financial difficulties. He is also the father of Justin, whose resentment towards him reveals tensions within their family. Performance Requirements: Confident stage presence and the ability to portray a successful public figure with complicated personal relationships. JAQUIE Gender: Female Conrad's wife, described as a gold digger. Jaquie is strongly motivated by wealth, financial security and the social advantages that accompany success. Her attitude towards money reflects the materialism and self-interest explored throughout the play. Performance Requirements: Strong character acting, comedic timing and the ability to portray social ambition and materialism. STEPHEN Gender: Male A successful surgeon who is neurotic, tense and easily wound up. Married to Penny, Stephen is part of the affluent friendship group whose personal values and loyalties are tested by Peter's financial difficulties. Performance Requirements: Strong comedic timing, expressive characterisation and the ability to portray anxiety, tension and emotional intensity. PENNY Gender: Female Stephen's wife. Outwardly sweet and agreeable, Penny attempts to conceal her personal dissatisfaction and frustrations within her marriage. Her pleasant demeanour masks deeper emotional conflicts. Performance Requirements: Subtle emotional range, naturalistic acting and the ability to portray the contrast between outward politeness and inner frustration. ALEX Gender: Male A highly successful lawyer, described as a "mega-lawyer". Married to Vicki, Alex enjoys considerable professional and financial success, placing him firmly within the affluent social circle at the centre of the play. His marriage is complicated by Vicki's growing desire for a different life. Performance Requirements: Confident characterisation and the ability to portray professional success and complicated personal relationships. VICKI Gender: Female Alex's wife and a highly competitive social climber. Ambitious and attracted to wealth, glamour and social status, Vicki is considering leaving her husband for an opportunistic younger man who promises her an exciting new life in Los Angeles. Her dissatisfaction with her current circumstances reveals the tension between material success and personal fulfilment. Performance Requirements: Strong comedic timing, confident stage presence and the ability to portray ambition, dissatisfaction and social competitiveness. JUSTIN Gender: Male Playing Age: 20s Conrad's son. A young man who harbours considerable anger towards his father for years of neglect and emotional distance. Justin is also romantically involved with Margaret, creating further complications within the friendship group. His resentment towards Conrad and relationship with Margaret add an intergenerational dimension to the play's examination of loyalty, relationships and self-interest. Performance Requirements: Strong naturalistic acting, emotional intensity and the ability to portray youthful frustration, resentment and complicated relationships.

Title: Cheaters Presented By: Spotlight Theatrical Company Genre: Comedy / Farce / Romantic Comedy Synopsis: Written by Michael Jacobs, Cheaters is a fast-paced American farce exploring love, marriage, infidelity and the complicated relationships between parents and their adult children. Allen and Michelle have been living together for eighteen months. As their first serious relationship develops, Michelle believes they should get married, but Allen isn't convinced he's ready for that commitment. Frustrated by his hesitation, Michelle turns to her parents for relationship advice. Unfortunately, neither family is in a position to offer much wisdom. Unbeknownst to Michelle's father, the woman he has been having an affair with for the past six months is Allen's mother. Meanwhile, Michelle's mother has recently spent the night with Allen's father and is eager to continue their relationship. When the parents arrange a dinner to share their supposed maturity and experience with the young couple, their tangled romantic secrets threaten to unravel. As misunderstandings, revelations and increasingly desperate attempts at deception collide, everyone is left scrambling to protect themselves in this outrageous comedy about love, romance and infidelity. Audition Date: Sunday 15 November 2026 Audition Time: 10:00am Audition Location and Address: Studio 2, 4/50 Johnston Street, Southport QLD Audition Requirements: All performers must use an American accent. Although the play is set in New York, a strong Bronx-style accent is not required. Auditions will involve performing selected scenes from the script. Applicants should familiarise themselves with the relevant audition excerpts: Monica and Howard: Pages 7–8 Grace and Sam: Pages 12–14 Allen and Michelle: Pages 18–20 Audition Pack: Download Cheaters Audition Package (PDF) Director Contact: Phone: 0413 666 815 Email: dawn.china@bigpond.com Performance Dates: 4–20 March 2027 Thursday 4 March Friday 5 March Saturday 6 March Sunday 7 March Thursday 11 March Friday 12 March Saturday 13 March Sunday 14 March Thursday 18 March Friday 19 March Saturday 20 March Performance Times: Thursday, Friday and Saturday: 7:30pm Sunday: 2:00pm Performance Location: Spotlight Theatre, Gold Coast QLD Rehearsal Dates: Wednesday 18 November 2026: Cast read-through at Seachange, Upper Coomera. First Rehearsal: Sunday 22 November at 10:00am. Rehearsals will initially take place on Sunday mornings and Wednesday evenings. An additional weekday evening rehearsal may be introduced closer to opening night. Warnings: The play contains adult relationship themes, including infidelity, extramarital affairs, deception. Performer Age: Adult performers. Suggested character playing ages are approximately 25 for the younger couple and 50s for the parents. These ages are flexible. Creative Team: Playwright: Michael Jacobs Director: Dawn China Production Website: https://www.spotlighttheatre.com.au/auditions Available Roles/Character Breakdown MONICA Gender: Female Playing Age: 50s (flexible) Accent: American Howard's wife and one of the four parents whose tangled romantic relationships drive the comedy. Loud, demanding and abrasive, Monica is a forceful personality who is accustomed to expressing exactly what she thinks. She is also entangled in the complicated web of secret infidelity, and her romantic involvement with Allen's father contributes to the chaos that unfolds when the families come together. Performance Requirements: Strong comedic timing, confident stage presence and the ability to portray an outspoken, demanding character. Audition Material: Pages 7–8, with Howard. GRACE Gender: Female Playing Age: 50s (flexible) Accent: American Sam's wife and a woman who values control, order and propriety. Sometimes devout or rigid in her outlook, Grace attempts to maintain a composed exterior while navigating unexpected romantic complications. Her involvement in the increasingly tangled family relationships challenges her sense of stability and control. Performance Requirements: Strong character acting, precise comedic timing and the ability to portray a controlled personality whose composure is tested by escalating circumstances. Audition Material: Pages 12–14, with Sam. HOWARD Gender: Male Playing Age: 50s (flexible) Accent: American Monica's husband, a self-absorbed, bullying or hapless man who has allowed an extramarital affair to continue far longer than intended. Having secretly been involved with Allen's mother for six months, Howard is now looking for a way out of the relationship. His attempts to escape the situation become increasingly complicated when the families arrange to meet. Performance Requirements: Strong farcical instincts, expressive characterisation and the ability to portray selfishness, desperation and comic discomfort. Audition Material: Pages 7–8, with Monica. SAM Gender: Male Playing Age: 50s (flexible) Accent: American Grace's husband, a sensitive, downtrodden and insecure man who finds himself caught up in an extramarital relationship. Unlike some of the more domineering personalities around him, Sam is emotionally vulnerable and frequently uncertain of himself. His involvement in the family's romantic entanglements creates further complications as the secrets begin to emerge. Performance Requirements: Strong reactive comedy, emotional vulnerability and the ability to portray insecurity and discomfort. Audition Material: Pages 12–14, with Grace. ALLEN (ALAN) Gender: Male Playing Age: Approximately 25 (flexible) Accent: American Michelle's boyfriend of eighteen months. Having entered his first serious relationship, Allen is uncertain whether he is ready for marriage despite Michelle's desire to take the next step. His reluctance to commit sparks the central conflict of the play, prompting Michelle to seek advice from her parents. As the older generation's romantic secrets begin to emerge, Allen finds himself caught in an increasingly absurd family situation. Performance Requirements: Naturalistic acting, strong comedic timing and the ability to portray hesitation, uncertainty and relationship conflict. Audition Material: Pages 18–20, with Michelle. MICHELLE Gender: Female Playing Age: Approximately 25 (flexible) Accent: American Allen's girlfriend of eighteen months. Michelle believes their relationship has reached the point where marriage should be the natural next step, but Allen's hesitation leaves her frustrated and uncertain about their future. Seeking reassurance and advice, she turns to her parents, unaware of the complicated romantic secrets that connect both families. Her desire for commitment sets the events of the play in motion. Performance Requirements: Strong comedic timing, emotional authenticity and the ability to portray determination, frustration and romantic uncertainty. Audition Material: Pages 18–20, with Allen.

Title: Midnight Murder at Hamlington Hall Presented By: Ipswich Little Theatre Society (ILT) Genre: Farce / Murder Mystery Comedy / Comedy Synopsis: Written by Mark Kilmurray and Jamie Oxenbould, Midnight Murder at Hamlington Hall is a chaotic theatrical farce in which everything that can go wrong inevitably does. It's opening night for director and playwright Shane Tweed's brand-new murder mystery, Midnight Murder at Hamlington Hall. Unfortunately, seven members of the amateur theatre company's cast have fallen ill with the dreaded lurgy, leaving the production in complete disarray. Determined to uphold the theatrical tradition that "the show must go on", Shane and two remaining actors attempt to perform the entire production themselves. With frantic costume changes, misplaced props, absurd miscasting, multiple characters and increasingly disastrous theatrical mishaps, the performers struggle to keep their murder mystery from descending into complete chaos. Can they somehow pull off the performance, or will everything go horribly, terribly and awfully wrong? Audition Date: Monday 9 November 2026 Audition Time: 7:30pm Audition Location and Address: Jean Pratt Building, Ipswich Little Theatre Complex, Ipswich QLD Audition Requirements: Ipswich Little Theatre is seeking actors with previous experience or an intuitive understanding of comic timing who can confidently portray multiple characters with differing accents and personalities. Applicants are encouraged to familiarise themselves with the supplied audition scenes before attending. Knowledge of these excerpts will assist performers during the audition. Applicants should demonstrate: Strong comedic timing and an understanding of farcical performance. Flexibility in portraying multiple characters. The ability to switch between different accents and characterisations. Confident script interpretation and collaborative performance skills. Strong stage presence, adaptability and an ability to respond to fast-paced theatrical situations. Audition Registration: Register for Auditions The registration form requests: Personal and contact information. Current Ipswich Little Theatre membership status. Previous acting experience. Roles of interest. Rehearsal availability. Known scheduling conflicts. Willingness to assist backstage or with front of house if not cast. Audition Pack: Side 1 – Shane and Pip Side 2 – Full Cast, Act 1 Side 3 – Full Cast, Act 2 Additional copies of the script or audition scenes may be requested directly from the director. Director Contact: jorobbins001@gmail.com Performance Dates: 24 February – 13 March 2027 Performance Location: Ipswich Little Theatre, Ipswich QLD Rehearsal Times: Rehearsals are generally held on weekday evenings, with occasional weekend rehearsals depending on cast and crew availability. Applicants must indicate their availability and any known conflicts when registering. Performer Age: Adult performers. Character playing ages range from approximately 25–60+. Creative Team: Playwrights: Mark Kilmurray and Jamie Oxenbould Director: Jo Robbins Assistant Director: Leanne Bamford Assistant Director: Shane Mallory Production Website: https://www.ilt.org.au/getinvolved/auditions/ Available Roles/Character Breakdown KAREN Playing Age: 30s–40s Pragmatic and a little dry. Karen brings a practical, grounded personality to the chaos of the production. Her understated approach provides a contrast to the more enthusiastic and theatrical personalities around her. Performance Requirements: Strong comic timing, dry humour and the ability to maintain a straight-faced performance amid increasingly absurd situations. PHILLIPA (PIP) Playing Age: 30s–50s Very keen and enthusiastic. Phillipa approaches the theatrical production with eagerness and commitment, even as circumstances become increasingly ridiculous. Performance Requirements: Energetic characterisation, expressive comedy and the flexibility to portray multiple characters. SHANE Playing Age: 30s–50s Very enthusiastic and a born optimist. Shane is determined to keep the production moving forward despite the extraordinary challenges threatening to derail opening night. His relentless optimism and enthusiasm contribute to the escalating theatrical chaos. Performance Requirements: Strong comic timing, confident stage presence, high energy and the ability to portray enthusiasm under pressure. BARNEY Playing Age: 40–60 A member of the old guard who is extremely theatrical and lives for the theatre. Barney is deeply devoted to performing and embraces the dramatic traditions of amateur theatre with considerable enthusiasm. Performance Requirements: Larger-than-life characterisation, theatrical flair, strong comic instincts and the ability to portray exaggerated personalities. RICHARD Playing Age: 25+ The straight man of the group, who finds himself completely out of his depth. Richard attempts to navigate the increasingly ridiculous circumstances surrounding the production, often serving as a grounded contrast to the more eccentric personalities. Performance Requirements: Excellent reactive comedy, understated characterisation and the ability to communicate confusion, frustration and discomfort.

Title: Love Is More Thicker Than Forget Presented By: Act1 Theatre Genre: Contemporary Drama / Comedy / Family Drama Synopsis: Written by Carolyn Stuart, Love Is More Thicker Than Forget is a warm, witty and deeply human play exploring family, memory, friendship and the unexpected ways people find strength in one another. Katherine is struggling to balance her own future with the responsibilities of caring for her mother, Betty, whose world is changing as she lives with dementia. As love, grief, friendship and family obligations begin to collide, the women around Katherine and Betty are drawn together in unexpected ways, each navigating their own personal challenges and changing identities. Through moments of humour, vulnerability and compassion, the play explores the importance of human connection and the small acts of care that help hold us together. Audition Date: Saturday 7 November 2026 Audition Time: 2:00pm Audition Location and Address: Act 1 Theatre, Strathpine QLD. Audition Requirements: No prepared monologue or audition piece is required. Auditionees will be provided with selected scenes from the play to read on the day. Applicants should be prepared to demonstrate characterisation, script interpretation and an ability to work alongside other performers. Both experienced actors and newcomers to Act 1 Theatre are welcome to audition. Audition Registration: To register your interest, contact Deb on 0431 843 887. Performance Dates: Friday 29 January 2027 Saturday 30 January 2027 Sunday 31 January 2027 Friday 5 February 2027 Saturday 6 February 2027 Sunday 7 February 2027 Friday 12 February 2027 Saturday 13 February 2027 Sunday 14 February 2027 Performance Location: Act1 Theatre, Strathpine QLD Warnings: The play explores themes of dementia, memory loss, ageing, grief, bereavement, loneliness, caregiving responsibilities and emotional strain within family relationships. Performer Age: Adult performers. Character playing ages range from approximately 50s–80s. Creative Team: Playwright: Carolyn Stuart Director: Telhea Fuller Production Website: https://www.act1theatre.com.au/auditions Available Roles/Character Breakdown KATHERINE Gender: Female-presenting Playing Age: 50s Betty's daughter, full-time carer and owner of Bellevue Bakery. Loving, capable and emotionally stretched, Katherine is attempting to balance her responsibilities to her mother with the possibility of building a life of her own. Caught between duty, guilt and her personal aspirations, Katherine must navigate the emotional demands of caregiving while confronting difficult decisions about her future. Performance Requirements: Strong emotional range, naturalistic acting and the ability to portray compassion, exhaustion, vulnerability and inner conflict. BETTY Gender: Female-presenting Playing Age: 80s Katherine's mother, who has recently been widowed and is living with dementia. Funny, stubborn, vulnerable and unpredictable, Betty moves between moments of warmth, confusion and sudden flashes of sharp clarity. Her changing memory and perception of the world create both humorous and heartbreaking moments for those around her. Performance Requirements: Strong dramatic versatility, sensitive characterisation and the ability to portray the complexities of dementia with authenticity and compassion. ARTHUR Gender: Male-presenting Playing Age: 70s Betty's deceased husband, whose presence continues to linger after his death. Charming, cheeky and occasionally infuriating, Arthur brings humour, shared history and unfinished business into Betty's world. His continuing presence reflects the enduring emotional connections between loved ones, even after death. Performance Requirements: Strong character acting, warmth, comedic timing and the ability to balance humour with emotional depth. JUDY Gender: Female-presenting Playing Age: 50s Katherine's old school friend, Shaz's partner and coordinator of the local craftivist circle. Outspoken, funny and fiercely loyal, Judy is energetic, organised and deeply invested in supporting the women around her. Her strong personality and commitment to community make her an important source of connection and friendship. Performance Requirements: Confident stage presence, strong comedic timing, warmth and energetic characterisation. OLIVER Gender: Male-presenting Playing Age: 50s A local veterinarian and Katherine's partner. Grounded, affectionate and patient, Oliver hopes to build a future with Katherine. However, her responsibilities to Betty place constant pressure on their relationship. His character explores the challenges of maintaining intimacy and personal relationships while navigating the demands of family caregiving. Performance Requirements: Naturalistic acting, emotional sensitivity and the ability to portray patience, affection and relationship tension. SYLVIA Gender: Female-presenting Playing Age: 60s Recently widowed following the death of her husband, Richard, Sylvia works as Betty's part-time carer. Kind, dependable and compassionate, she provides practical and emotional support while quietly carrying her own loneliness and grief. Despite her personal struggles, Sylvia remains a steady and caring presence in the lives of those around her. Performance Requirements: Subtle emotional depth, warmth and the ability to portray quiet grief, compassion and resilience. VI Gender: Female-presenting Playing Age: 60s Recently retired and married to Brian, Vi is adjusting to a new stage of life. Intelligent, spirited and dryly funny, she is searching for connection, purpose and somewhere to belong. As she navigates the changes brought about by retirement, Vi discovers new opportunities for friendship and personal fulfilment. Performance Requirements: Strong comedic timing, expressive characterisation and the ability to portray intelligence, humour and emotional vulnerability. SHAZ Gender: Female-presenting Playing Age: 50s Judy's partner and a police officer. Practical, observant and quietly funny, Shaz brings calm, strength and grounded support to the people around her. Her level-headed personality provides a reassuring contrast to some of the more outspoken and emotionally turbulent characters. Performance Requirements: Naturalistic acting, understated humour, confidence and the ability to portray a calm, supportive presence.

Title: Accidental Death of an Anarchist Presented By: Coolum Theatre Players Genre: Black Comedy / Political Satire / Farce Synopsis: Written by Nobel Prize-winning playwright Dario Fo, Accidental Death of an Anarchist is a classic 1970 political satire combining outrageous physical comedy, anarchy and biting social commentary. Inspired by real events, the play begins with a police inspector interrogating a clever and mischievous fraudster known only as The Maniac. When The Maniac discovers that the police station was recently the scene of an anarchist's supposedly accidental death after falling from a third-floor window, they decide to investigate the circumstances for themselves. Armed with an extraordinary talent for impersonation and an appetite for chaos, The Maniac turns the police investigation upside down, exposing increasingly absurd explanations, contradictions and attempts to conceal the truth. Audition Date: Auditions will be held across three dates in November 2026. Thursday 5 November: Auditions for The Maniac. Tuesday 17 November: Auditions for all remaining roles. Thursday 19 November: Auditions for all remaining roles. Early auditions for The Maniac are being held to provide the successful performer with additional time to learn this substantial role. Audition Time: 7:00pm on all three dates. Audition Location and Address: The Maniac – 5 November: Coolum Events Centre, Coolum Beach QLD. Remaining Roles – 17 and 19 November: Coolum Civic Centre, Park Street, Coolum Beach QLD. Audition Requirements: No previous acting experience is necessary. Applicants should be prepared to demonstrate characterisation, comic timing and an ability to engage with the play's farcical style. The role of The Maniac requires excellent line-learning abilities, physical fitness and the capacity to sustain a demanding performance throughout almost the entire play. Audition Registration: For audition enquiries or to express interest, contact director Nick Smith. Email: nickinbuenos@gmail.com Audition Pack: Download Synopsis, Character Breakdown and Audition Information (PDF) Performance Dates: 16–24 April 2027 Performance Times: Evening Performances: 7:30pm Matinee Performances: 2:00pm Performance Location: Coolum Civic Centre, Park Street, Coolum Beach QLD Warnings: The play explores themes of police misconduct, corruption, abuse of authority, political injustice, deception and a suspicious death involving a fall from a building. The production also contains dark humour and satirical treatment of serious political and social issues. Performer Age: Adult performers. Character playing ages range from approximately 20s–60s. Production Website: https://coolumtheatre.com.au/auditions/ Available Roles/Character Breakdown THE MANIAC Gender: Male or Female Playing Age: 30s–50s Physical Requirements: Must be physically fit. The central character of the play, The Maniac is a clever, unpredictable fraudster with an irresistible compulsion to adopt theatrical roles in everyday life. Treating the world as their personal stage, The Maniac uses impersonation, improvisation and outrageous behaviour to manipulate the police and expose the contradictions surrounding the anarchist's death. The character drives the action, constantly shifting between personas while orchestrating the increasingly chaotic events unfolding at police headquarters. Performance Requirements: Exceptional line-learning ability. Strong comic timing and physical performance skills. Confidence with rapid character changes and heightened theatricality. Excellent energy, stamina and stage presence. Ability to sustain a demanding leading role. Please Note: The Maniac is onstage for virtually the entire play. Auditions for this role will be held separately on Thursday 5 November to allow the successful performer additional time to prepare. THE INSPECTOR Gender: Male Playing Age: 30s–50s A conventional, by-the-book police officer who initially arrests The Maniac for impersonating a psychiatrist. As the investigation becomes increasingly absurd, the Inspector struggles to maintain control and make sense of the extraordinary events unfolding around him. His commitment to procedure is repeatedly undermined by The Maniac's relentless manipulation. Performance Requirements: Strong character acting, reactive comedy and the ability to portray mounting confusion and frustration. THE SUPERINTENDENT Gender: Male or Female Playing Age: 40s–60s The bullish, high-ranking head of the police department. Having overseen the interrogation of the anarchist, the Superintendent is particularly concerned with protecting their career and reputation. Authoritative and self-important, the character becomes increasingly desperate as The Maniac exposes contradictions in the police account. Performance Requirements: Commanding stage presence, strong comedic timing and the ability to portray authority under pressure. THE DETECTIVE Gender: Male Playing Age: Any adult age A loyal police officer who works alongside the Inspector and was involved in the interrogation of the anarchist. The Detective becomes deeply involved in constructing increasingly implausible explanations to justify the police department's actions. Performance Requirements: Strong ensemble acting, comedic timing and the ability to deliver absurd dialogue with conviction. CONSTABLE I Gender: Male Playing Age: 20s–30s A rank-and-file police officer attempting to navigate the escalating chaos at police headquarters. Caught between the demands of senior officers and The Maniac's unpredictable behaviour, the Constable struggles to maintain order. Performance Requirements: Strong reactive acting, physical comedy and the ability to portray confusion and uncertainty. CONSTABLE II Gender: Female Playing Age: 20s–30s Another police officer involved in the original interrogation of the anarchist. Highly skilled at fabricating explanations, Constable II becomes increasingly entangled in the department's attempts to conceal the truth. Performance Requirements: Strong comic timing, quick reactions and confident characterisation. THE JOURNALIST Gender: Female Playing Age: 20s–30s A sharp, determined and politically conscious journalist pursuing what could become the biggest story of her career. Unwilling to accept official explanations without scrutiny, she challenges the police and pushes for answers about the anarchist's suspicious death. However, she must carefully balance her determination to expose the truth against the risk of being removed from the investigation. Performance Requirements: Confident stage presence, strong diction, intelligence and the ability to portray determination and quick thinking.

Title: Hadestown: Teen Edition Presented By: On the Boards Theatre Company / Dance and Theatre Factory Genre: Musical Theatre / Folk Opera / Greek Mythology / Drama Synopsis: Hadestown: Teen Edition is a powerful, folk-inspired musical by Anaïs Mitchell that reimagines the ancient Greek myth of Orpheus and Eurydice. Set in a world where love, hope and music battle against fear and doubt, the musical follows two intertwining love stories: that of young dreamers Orpheus and Eurydice, and that of the immortal King Hades and his wife, Persephone. When Eurydice is drawn into the industrial underworld of Hadestown, Orpheus embarks on a dangerous journey to bring her home, armed with little more than his music and unwavering belief in love. Featuring a rich score inspired by traditional American folk music and vintage New Orleans jazz, Hadestown explores the conflict between industry and nature, doubt and faith, and fear and love. Audition Date: Sunday 1 November 2026 Audition Time: 2:00pm–3:30pm: Vocal auditions (10-minute individual appointments) 3:30pm–4:30pm: Group dance call 4:30pm–6:00pm: Vocal auditions (10-minute individual appointments) Individual audition times will be allocated following registration. Callbacks: Sunday 8 November 2026. Times to be advised. Audition Location and Address: On the Boards Theatre Company, Unit 1/433 Wondall Road, Tingalpa Audition Self-Tape Due (if applicable): Sunday 1 November 2026 Video auditions are accepted. Applicants must complete the registration form to receive instructions regarding the required video content. Audition Requirements: Singing: Two contrasting songs, approximately one minute each. Musical theatre repertoire is preferred, particularly songs that allow performers to demonstrate acting and movement while singing. Alternatively, applicants may select songs that best showcase their individual abilities. Backing tracks are required. Bring backing tracks on a device compatible with an AUX connection or Bluetooth. Acting: One self-selected, memorised character monologue. Applicants are encouraged to perform in the accent or style of their desired character. Strong characterisation, bold acting choices and an understanding of the material are encouraged. Dancing: Participate in a group dance call. No prepared choreography is required. Applicants will learn a short routine on the day and demonstrate their ability to learn, interpret and perform movement. Audition Pack: Hadestown: Teen Edition – Audition Information (Canva) Performance Dates: Saturday 16 January 2027 Rehearsal Dates: Monday 14 December Tuesday 15 December Wednesday 16 December Thursday 17 December Monday 11 January Tuesday 12 January Wednesday 13 January Thursday 14 January Friday 15 January Rehearsal Times: 9:00am–5:00pm on all listed workshop days. Warnings: The musical explores themes of death, grief, poverty, hunger, exploitation, authoritarianism, emotional manipulation and the afterlife. Performer Age: 13–19 years at the time of the performance. Production Website: https://danceandtheatrefactory.com.au/ Other information: Participation Fee: $660 per performer. Payment options include: Full Payment: $660 by Monday 14 December 2026. Two Instalments: $330 by Monday 14 December 2026 and $330 by Monday 11 January 2027. The participation fee includes: Costumes Performance rights and royalties Scripts Insurance Technical and creative staff Sets and props Venue hire Enquiries: Email: lyn@ontheboards.com.au Phone: (07) 3195 7086 Available Roles/Character Breakdown ORPHEUS Gender: Male character Vocal Range: Tenor with strong falsetto, D3–C5 (optional Eb5) A gifted but naïve young poet and musician with an extraordinary talent for music. Orpheus is idealistic, sensitive and determined to see the world not simply as it is, but as it could become. His belief in the transformative power of music drives him to challenge the seemingly impossible. His love for Eurydice inspires him to undertake a dangerous journey into the underworld. Performance Requirements: Strong tenor vocals with a well-developed falsetto, emotional vulnerability and the ability to portray innocence, optimism and determination. EURYDICE Gender: Female character Vocal Range: Mezzo-Soprano, F#3–D5 A tough, independent young woman who has spent much of her life moving from place to place. Hungry, cold and without a permanent home, Eurydice is practical, resourceful and unwilling to be easily deceived. Beneath her guarded exterior lies a deep vulnerability and longing for security. Her relationship with Orpheus forces her to navigate the difficult balance between love and survival. Performance Requirements: Strong mezzo-soprano vocals, emotional depth and the ability to balance toughness with vulnerability. HADES Gender: Male character Vocal Range: Bass, F2–C#4 The powerful King of the Underworld and ruler of Hadestown. An authoritarian industrialist obsessed with control, order and the deals that sustain his empire, Hades has become increasingly paranoid and disconnected from the world above. Although outwardly intimidating and uncompromising, his relationship with Persephone reveals a more complicated emotional life. Performance Requirements: A strong, resonant bass voice, commanding stage presence and the ability to portray authority, intimidation and moments of emotional vulnerability. PERSEPHONE Gender: Female character Vocal Range: Mezzo-Soprano / Alto, F3–C5 The Queen of the Underworld and goddess of nature and the seasons. Persephone is spirited, charismatic and fond of a good time. Although she loves Hades, she finds the oppressive atmosphere of the underworld increasingly difficult to endure. She is happiest during the summer months above ground, where she can reconnect with nature and freedom. Beneath her lively personality lies genuine concern about the person Hades has become. Performance Requirements: Strong mezzo-soprano or alto vocals, confident characterisation and the ability to balance humour, charisma and emotional complexity. HERMES Gender: Open to male and female performers Vocal Range: Tenor / Bass, C3–B4 The Messenger of the Gods, narrator of the musical and mentor to Orpheus. Charismatic, knowledgeable and theatrical, Hermes guides the audience through the story while offering advice and encouragement to the characters. Frequently breaking the fourth wall, Hermes speaks directly to the audience and helps shape the emotional journey of the production. Although supportive of Orpheus, Hermes' true loyalties can sometimes remain ambiguous. Performance Requirements: Strong storytelling skills, confident singing, charisma, excellent diction and the ability to connect directly with the audience. THE FATES Gender: Three female characters Vocal Ranges: Soprano Mezzo-Soprano Alto Overall range: E3–D5 Fate 1: Up to Eb5 The Fates are three mysterious sisters who act as the voices of doubt, temptation and consequence throughout the musical. They influence the decisions of the central characters, particularly Eurydice's descent into Hadestown and the conditions imposed upon Orpheus during his attempt to bring her home. Their manipulation ultimately contributes to the doubt that causes Orpheus to turn and look behind him. Described as vicious and delicious, the Fates are fundamental to the storytelling and frequently function as voices inside the characters' heads. Performance Requirements: Strong individual vocals, precise three-part harmonies, excellent musicality, characterisation and the ability to work closely as a vocal ensemble. WORKERS / ENSEMBLE The Workers represent the spirits of labour and community, forming the physical and choral foundation of the musical. The ensemble may include approximately 6–16 performers who transition between residents of the world above and workers in the industrial underworld of Hadestown. These performers play an essential role in establishing the contrasting environments of the musical through singing, contemporary movement and ensemble storytelling. Performance Requirements: Strong ensemble singing and harmonisation Confidence with contemporary choreography and physical theatre Good musicality and movement skills Ability to portray multiple characters and environments Strong teamwork and commitment to the workshop process

Title: Cats: Young Actors Edition Presented By: Brisbane Junior Theatre (BJT) Genre: Musical Theatre / Dance Musical / Family Synopsis: Enter the magical world of the Jellicle Cats in this youth adaptation of Andrew Lloyd Webber's iconic musical, inspired by the poetry of T. S. Eliot. Once a year, the Jellicle Cats gather beneath the moonlight for the Jellicle Ball, where their wise leader, Old Deuteronomy, will select one cat to be reborn into a new life. Through music, dance and storytelling, audiences meet an extraordinary collection of feline personalities, each with their own stories, quirks and ambitions. Featuring spectacular choreography and unforgettable songs, including Memory, this production celebrates individuality, belonging and second chances. Audition Date: Saturday 28 November 2026 Audition Time: 1:00pm–5:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Audition Requirements: Auditions are required for performers seeking lead roles, minor roles, featured dancer positions or vocal solos. All auditionees must prepare: Singing: A song demonstrating vocal ability and characterisation. Dancing: Participate in a dance audition to demonstrate movement and performance skills. Acting: A memorised monologue performed with appropriate characterisation, expression and projection. Younger Performers: May prepare one or two sentences instead of the full monologue. Optional Audition Intensive: Date: Saturday 21 November 2026 Time: 12:00pm–3:00pm Location: Emerge Church, Upstairs Studio Cost: $50 This workshop covers monologue delivery, characterisation, physical movement, projection, accents, audition singing, storytelling and vocal technique. Each participant receives individual feedback from the directors. Audition Registration: Register through Brisbane Junior Theatre Audition Pack: Download Audition Monologues and Materials Performance Times: Friday 18 December: 6:00pm and 8:00pm Saturday 19 December: 12:00pm and 2:00pm Performance Location: Emerge Church, 1 Coorparoo Road, Warner QLD Rehearsal Dates: Monday 14 – Friday 18 December 2026 Rehearsal Times: 8:30am–5:00pm daily Performer Age: Youth performers. Production Website: Cats: Young Actors Edition — Brisbane Junior Theatre Other information: Every auditionee is guaranteed inclusion in the production. Audition preparation workshops are available for an additional fee. Available Roles/Character Breakdown Old Deuteronomy - The wise, gentle and respected leader of the Jellicle Cats. Responsible for choosing which cat will ascend to the Heaviside Layer and receive a new life. Requires a commanding yet compassionate stage presence and strong singing ability. Grizabella - A once-glamorous cat who has become an outcast from the Jellicle community. Her emotional journey forms the heart of the musical, culminating in the iconic song Memory. Requires expressive acting and powerful, emotionally connected vocals. Munkustrap - A protective, authoritative cat who acts as the show's principal narrator and helps guide the Jellicle Ball. Requires confident singing, movement and storytelling skills. Rum Tum Tugger - A rebellious, charismatic and attention-seeking cat who enjoys being the centre of attention. Requires strong stage presence, comedic confidence and energetic singing and dancing. Mr. Mistoffelees - A magical, mysterious cat capable of extraordinary tricks. Traditionally one of the show's most demanding dance roles, requiring excellent technique, agility and expressive physical performance. Victoria - An elegant young white cat, traditionally featured in prominent ballet and dance sequences. Requires strong dance technique, grace and expressive movement. Jemima / Sillabub - A youthful, innocent and compassionate cat who recognises Grizabella's loneliness. Often features in important vocal moments associated with Memory. Requires clear, expressive singing. Jennyanydots - Also known as the Old Gumbie Cat. A seemingly lazy house cat who becomes extraordinarily busy at night, teaching mice and cockroaches to perform. A comedic role requiring strong characterisation and movement. Bustopher Jones - A sophisticated, well-fed cat who enjoys fine dining and socialising at exclusive clubs. A larger-than-life comic character requiring confident acting and singing. Skimbleshanks - The Railway Cat, who keeps everything running smoothly aboard the night train. Energetic, organised and enthusiastic. Requires strong musicality, character acting and dancing. Gus (Asparagus) - An elderly theatre cat who reminisces about his illustrious stage career. A character-driven role requiring expressive acting and storytelling. Growltiger - A fearsome pirate cat who appears in Gus's theatrical recollections in some versions of the musical. Inclusion in this youth adaptation is not confirmed. Macavity - The mysterious and dangerous villain of the Jellicle world, known for causing chaos and disappearing without a trace. Requires strong physical characterisation and commanding stage presence. Demeter - A cautious, sensitive cat who is particularly fearful of Macavity. Traditionally features in strong dance and vocal sequences. Bombalurina - A confident, charismatic and expressive cat, often featured alongside Demeter. Requires strong singing, dancing and stage presence. Mungojerrie and Rumpleteazer - A mischievous pair of cats who delight in causing trouble. Their featured number traditionally involves playful physical comedy, intricate movement and strong teamwork. Jellylorum - A caring, mature cat who looks after other members of the Jellicle tribe, particularly Gus. Requires expressive acting and singing. Alonzo - A confident, athletic Jellicle cat who often takes on protective responsibilities within the group. Traditionally a dance-focused role. Cassandra - An elegant, mysterious and poised cat, often featured in ensemble choreography and movement sequences. Tantomile and Coricopat - A mysterious pair of cats with an almost supernatural connection. Traditionally portrayed through synchronised movement and strong ensemble dance work. Plato / Admetus - A featured Jellicle cat, often involved in athletic choreography and ensemble storytelling. Character names and doubling vary between versions. Jellicle Ensemble - A large collection of individual feline personalities who bring the Jellicle Ball to life through singing, dancing and physical storytelling. Ensemble performers are integral to the production and may be featured in individual musical numbers, character moments and dance sequences.

Production: Bram Stoker's Dracula Presented by: Ghostlight Theatre Co. Venue: Crete St Theatre, Beenleigh Date attended: 10 October 2026 Written by: William McNulty, adapted from Bram Stoker's novel Director and Producer: Yasmin Elahi Assistant Director / Sound Designer: Tommy Burnett Set Design, Costumes, Props, Practical Effects: Yasmin Elahi Lighting Designer: Willow Taylor Fight Choreographer: Dan Pohlmann Choreographer: Sarah Latter Stage Manager / Practical Effects: Christina McMahon SFX Makeup: Charlotte Horn Photography: Christopher Sharman and Alan Burchill Contains minor spoilers about character transformations and stage effects. “We are all damned.” Ghostlight Theatre Co. has a healthy appetite for theatrical horror. I've seen their previous four productions, including The Exorcist, and watched the company find all sorts of creative ways to torment its characters. For their latest production, they've taken on Bram Stoker's Dracula, adapted by William McNulty and directed by Yasmin Elahi. It's their largest production to date, bringing towering monsters, supernatural illusions, and an alarming quantity of fake blood to Crete St Theatre. I dread to think how much laundry detergent they went through! Something sinister is brewing in England. Mina is presumed dead after a mysterious illness, and now her best friend Lucy is suffering similar symptoms. Lucy is losing blood inexplicably, her fiancé Jonathan Harker has vanished, and Dr Seward is running out of answers. Meanwhile, there's been suspicious nocturnal activity since Count Dracula arrived in the neighbourhood. Professor Van Helsing is called in to investigate. Through detailed dialogue, journal entries, and flashbacks, McNulty gradually pieces together the horrors at play, echoing the storytelling structure of Stoker's original novel. Reagan Warner fits the role of Count Dracula so perfectly that I wonder if he's truly human. His Dracula is calculating, with a piercing gaze that forebodes suffering for his victims. The deep timbre of his voice lends his Transylvanian accent a hypnotic quality. Reagan takes his time with everything, from the measured delivery of his lines to the slow, deliberate movements of a creature accustomed to having others at his mercy. With pointed ears, red eyes, and elaborate crimson-and-black attire, Reagan looks every inch the vampire. His enormous cloak acts like an extension of himself (à la Doctor Strange), sweeping around him with every action. There's a wicked sense of humour in Reagan's performance too, but that vanishes when the Count is confronted with crucifixes and Latin prayers. Dracula erupts into a rage, all the more frightening after seeing him maintain such control. If anyone can match Reagan's commitment to character, it's Rhys Schwarten as Renfield. With disheveled hair and filthy clothes, Rhys dives into the role of the self-proclaimed “garden variety raving lunatic” with fervent enthusiasm. They scurry around the stage like a rat, muttering riddles and occasionally erupting into chaotic fits. At other times, Renfield bumbles and bounces about like a mischievous leprechaun. He might even be entertaining company (if he'd just quit snacking on insects). Even when silent, Rhys is rarely motionless. Their fearful cowering and darting eyes reveal a mind pulled in two directions, unable to settle. It's a performance equal parts ridiculous and disturbing. Andrew McArthur brings a contrasting calmness to Professor Van Helsing. His matter-of-fact delivery conveys a man who can recognise supernatural nonsense without becoming hysterical. Van Helsing listens, considers, and reads between the lines before anyone else catches up. There's considerable wit and intelligence in this restraint, particularly when dealing with Dracula. I enjoy watching Andrew meet every provocation with composure, which only aggravates Dracula further. Their showdowns are so entertaining precisely because neither is willing to concede an inch. Brayden Rewald brings a surprisingly dry wit to Dr Seward, alongside a perpetually sour expression. As Lucy's unexplained blood loss leaves the doctor scrambling for answers, frustration creeps into Brayden's voice and movements. By the graveyard scene, his professional composure begins to unravel. Conventional medicine has hardly prepared him for this. Peter Van Werkhoven has less stage time as Jonathan Harker, but his expressive reactions convey plenty about the ordeal he's endured. Poor Jonathan is quite the damsel in distress, and Peter makes his desperation convincing. Under Dracula's influence, Alynta Scott transforms Lucy from a sweet, innocent hostess into someone eerily unrecognisable. Alynta's altered posture, expressions, and voice give Lucy a siren-like allure with a sinister undertone. As she levitates (stage magic!), Alynta twists and bends at unnatural angles. I found myself genuinely tense in my seat, both from the unfolding body horror and from imagining what her back and neck must be enduring! Jem Mook brings an unsettling physicality to Mina, particularly during a violent encounter with the Child (Alex Andrews). Set to the Moderato from Swan Lake, the scene pairs the graceful flute passages and balletic movements with swelling brass, piercing screams, and bloodshed. As the scene takes a dramatic turn, the little girl's innocence makes the sudden brutality all the more chilling. Fiona Buchanan and Daniel Lewis provide a touch of comic relief and humanity as Sullivan and Briggs. Daniel's strong Cockney accent and Fiona's Irish characterisation add personality to their amusing disagreements. Briggs has the unenviable task of keeping Renfield under control, while Sullivan has enough trouble maintaining order in this household. When Dracula puts Sullivan under his spell, Fiona's sudden change in demeanour is particularly creepy. Neither character is being paid enough for what goes on at this establishment. Across the company, the vocal work is excellent. Accents are sustained, enunciation is clear, and emotion comes through in everyone's delivery. I did occasionally wish that same intensity carried into the physical performances, particularly in confrontations that felt a bit restrained. Reagan and Rhys communicate so much through movement that the stiffer moments elsewhere are noticeable. A little more physical urgency and responsiveness between characters would've helped sustain the illusion of danger. Yasmin Elahi has a hand in almost everything, from directing to designing the costumes, scenery, props, and practical effects. Yasmin's set accommodates several locations through tall scenic flats and substantial scene changes. A flashback transports us to Dracula's castle, complete with an imposing carved throne (that I wish we'd seen more of). The large backstage team deserves credit for keeping everything moving, particularly with so much stage magic to coordinate. And there's plenty of it! Wounds appear from nowhere, blood spurts onto the stage, bodies levitate into the air, and Dracula's coffin conceals a clever illusion. I caught sight of a blood pipe during one scene, but with everything else they're pulling off, I can forgive that! There's also a gigantic creature, performed by Matthew Nelson, whose shaggy silhouette towers over the cast. With grotesquely long limbs, jutting claws, and glowing red eyes, it's a rather spooky sight. Willow Taylor's lighting keeps much of the stage appropriately dark. Spotlights pick out faces and figures from the shadows (when the performers find their light). Handheld flashlights leave stretches of the stage obscured so that we are left searching the darkness alongside the characters, knowing full well what might be lurking there. Saturated reds and icy blues transform the scenery, with the graveyard's cold glow contrasting sharply against Dracula's crimson world. Tommy Burnett's sound design deserves particular praise for the tension it creates. Dracula's deep, hypnotic voiceovers draw Sullivan into a trance, while low hums creep beneath the dialogue and put us on edge. During blackouts and scene changes, layers of ominous sound fill the darkness, sustaining the suspense even when there's nothing to see. There are occasional technical interruptions, including mistimed cues, prop difficulties, and microphone issues that briefly expose the mechanics behind the illusions. Despite its sinister intentions, Dracula has a slight playful streak amid all the bloodshed, particularly during the first half. Jokes about familiar vampire conventions, Reagan's dry delivery, Andrew's well-placed insults, and Rhys' peculiar behaviour bring plenty of chuckles. But the darker scenes are given room to become genuinely uncomfortable. Having followed Ghostlight through four previous productions, I've enjoyed seeing just how far the company is willing to push its theatrical horror. And I suspect the cleaning crew is relieved Dracula's visit was only for four performances.

Title: The Oasis Presented By: Overture Theatricals (PATHWAYS Program) Genre: Original Australian Musical / Supernatural Comedy / 1980s Pop-Rock Synopsis: The Oasis is an original Australian supernatural comedy musical by Bradley McCaw, featuring an energetic 1980s-inspired pop-rock score. A group of disconnected young people discover a mysterious, magical Oasis hidden on their school grounds. As its supernatural influence begins to transform their lives, the students are drawn into an investigation of the extraordinary force growing inside the cave. Each must confront their past, overcome personal challenges and decide whether they are willing to stand together and fight for something they believe in. Following the success of Overture Theatricals' 2026 Any Moment Pathways Production, this developmental workshop production offers Brisbane performers the opportunity to collaborate directly with the composer, explore new material and help shape an original Australian musical before its next stage of development. Audition Date: Self-tape submissions, followed by invitation-only in-person callbacks. Callback Dates and Times: Friday 30 October 2026: 8:00am–4:00pm Saturday 31 October 2026: 8:00am–12:00pm Sunday 1 November 2026: 8:00am–2:00pm, or from 4:00pm onwards Audition Location and Address: PIP Theatre, Milton, Brisbane QLD (in-person callbacks). Audition Self-Tape Due (if applicable): Wednesday 28 October 2026 at 9:00pm (Brisbane time). Audition Requirements: The production is seeking performers with strong singing, acting, movement and collaborative development skills. All applicants must prepare and record the specified audition excerpt from You Don't Notice from The Oasis. Overture Theatricals is seeking approximately 8–12 performers. Use the supplied backing track when recording. Performers are welcome to sing the excerpt in their own vocal range. The provided sheet music is written in a lower key than the backing track. Submit a working, accessible video link. Applicants do not need to prepare individual character solos for the initial self-tape. Vocal ranges and song keys may be adjusted after casting. Character-specific sheet music may be provided to performers selected for callbacks. Audition Registration: Email hello@overturetheatricals.com with: Full name Email address and phone number Accessible self-tape video link Headshot link Performance CV link Vocal range or voice type, if known Preferred callback dates and time windows Confirmation of availability for the development, rehearsal and performance dates Any known scheduling conflicts Audition Pack: Download Audition Materials and Character Information Music Reference: Listen to You Don't Notice on Spotify Performance Dates: Wednesday 20 – Saturday 23 January 2027 Performance Location: PIP Theatre, Milton, Brisbane QLD Rehearsal Dates: Development Workshops – November/December 2026: Sunday 1 November — To be confirmed Sunday 8 November Sunday 15 November Sunday 22 November Sunday 29 November Sunday 6 December Sunday 13 December — To be confirmed January 2027: 11–12 January: Music, choreography and final development. 13–16 January: Staging rehearsals. 18–19 January: Technical rehearsals. 20–23 January: Performances. Performer Age: Principal character playing ages range from approximately 18–70+, with student and adult ensemble roles spanning approximately 18–60. Creative Team: Writer / Producer: Bradley McCaw Director: Sherryl-Lee Secomb Musical Director: William Martineau Production Website: https://overturetheatricals.com/audition-materials Other information: This is a profit-share workshop production, rather than a conventional fixed-fee engagement. Both principal performers and understudies will participate in the development process. The project provides experience in the creation and development of new Australian musical theatre. Cast members will work directly with the composer to workshop and refine original musical material. November workshops will focus on music and script development, table work and developing a preliminary blocking outline. The development period will conclude with a full-show performance at music stands. Cast members are expected to memorise the entire show over the Christmas break, ready for staging rehearsals in January. All listed characters and ensembles have solo material, although not all songs have been recorded for reference. Available Roles/Character Breakdown RAY Playing Age: 18–26 Penny's brother and a self-described outsider who is obsessed with UFOs. Ray's fascination with the unexplained sets him apart from those around him and connects him to the mystery of the Oasis. Suggested Listening: You Don't Notice Please Don't Suck This We Can Change PENNY Playing Age: 18–26 Ray's sister. Driven, highly successful and accustomed to taking responsibility, Penny is exhausted by the constant need to rescue her brother from his own decisions. Suggested Listening: Picture a Girl (available on YouTube) You Don't Notice Please Don't Suck TONY Playing Age: 18–26 A newcomer to town who arrives as part of a community service program. Suggested Listening: Good Morning Sun You Don't Notice Please Don't Suck CHARLIE Playing Age: 18–26 Penny's best friend, described in the musical as coming from the richest family in town. Suggested Listening: You Don't Notice Please Don't Suck This We Can Change CHANCELLOR Playing Age: 30–70s The chancellor/director of the school or university. An authority figure within the educational institution where the story takes place. ROYCE Playing Age: Early 20s–40s Second-in-command to the Chancellor. Responsible for running the community service program. O'BRIEN Playing Age: 30–50s An investigator hired by Ray to find the mysterious Oasis. Suggested Listening: The Remedy STUDENTS Playing Age: 18–30 Students attending Ridgecliffe University. Seeking versatile performers who can portray a range of characters and demonstrate strong acting, singing and movement abilities. Suggested Listening: You Don't Notice Please Don't Suck This We Can Change ADULTS Playing Age: 20–60s Residents of Ridgecliffe who portray a variety of characters throughout the musical. Seeking versatile performers with strong script interpretation and movement abilities.

REVIEW | The Human Centipede Parody Musical Presented by: Synergy Production Co., in collaboration with Left of Right Theatre Company and PIP Theatre Venue: PIP Theatre, Milton Date attended: 7 October 2026 (Preview) Music: Thomas Currie Book and Lyrics: Liam Hartley and Oliver Catton Director: Liam Hartley Assistant Director and Choreographer: Maureen Bowra Musical Director and Sound Designer: Nate Stevenson Production Designer: Tamzen Hunter Lighting Designer: Claire Yorston Costume Designer: Jemma Crowhurst Stage Manager: Lindsay Cooper Intimacy Coordinator: Michaela Faux Photography: Lavender Productions "There is always a light at the end of the anus." Possibly the most inspirational thing you'll hear from a musical about three people surgically sewn together, mouth to backside. I've seen a few horror parodies, but nothing quite like The Human Centipede Parody Musical. I haven't watched the original 2009 film, and I never will. I know enough. Yet here I am, willingly watching its musical adaptation and laughing at jokes that would be deeply concerning in any other setting. Don't let the source material get in the way of a good time! Written by Liam Hartley and Oliver Catton, with music by Thomas Currie, this spectacularly tasteless Australian creation returns under Hartley's direction. Since its 2023 Anywhere Festival beginnings, it's acquired a full set, projections, and a lighting rig, giving its characters considerably more theatrics to suffer through. The story follows two clueless American tourists, Lindsay (Rae Rose) and Jenny (Georg Gleeson), who fall into the hands of Dr Heiter (Beau Wykes), a sociopathic German surgeon with a friendly disposition and an appalling medical project. They're joined by Katsuro (Chris Nguyen), an equally unfortunate captive who thinks he's been invited to a party. Bless his soul. Before any unpleasantness, however, we're treated to a familiar opening scene lifted straight from The Princess Bride. Douglas Berry plays the grandfather reading to his sick grandson, played by Chris Nguyen in a dreadful wig (and playing with an actual Game Boy, btw!). This sets the tone for the theatrical thievery and obscene nonsense to follow, with performers committing to every ridiculous decision as though their dignity isn't already beyond saving. Beau Wykes plays Dr Heiter as a cheerful German sociopath, approaching his surgical ambitions with the enthusiasm of someone unveiling an exciting craft project! Come Act Two, Wykes channels Frank-N-Furter meets Beyoncé, later leading a tap break in which the human centipede taps with its hands. Yes, hands. There's only so much conventional choreography one can manage when one's face is attached to someone else's rear end... Rae Rose and Georg Gleeson look like they've wandered straight out of S Club 7's wardrobe and taken a wrong turn on holiday. As their predicament worsens, the pair throw themselves into frantic singing and physical comedy, with Gleeson's intense eyes conveying every stage of terror. Rose brings superb vocal control and musicality to 'The Centre of a Centipede'. Their group number, 'We're Fucked/We're Fine', sees them rolling around on chairs, desperately convincing themselves everything's fine when, quite demonstrably, it isn't. Chris Nguyen provides a comic counterpoint to the surrounding hysteria. His initial cluelessness is rather adorable. The trio eventually develop a peculiar companionship with an unexpectedly cute conclusion. I'm told the film takes a somewhat different approach to the ending... Meanwhile, old-fashioned noir detectives Kranz (Casey Martin) and Voller (Douglas Berry) investigate the situation, though they're more interested in narrating their actions and indulging in musical diversions. Their exaggerated Brooklyn accents (which they maintain even while singing), rapid-fire exchanges, and theatrical choreography make for a wonderfully ridiculous double act. Martin switches between detective smoulder and buffoonery easily, with a face made for black-and-white crime films, while Berry matches his energy and looks as though he's fighting for his life through the choreography. Their recurring number, 'Ain't a Second to Spare', sees the detectives repeatedly announce their lack of time while wasting an extraordinary amount of it. Just when you think they're finished, they're back for more. Musical theatre, country western, rock 'n' roll, crooning, and a kickline, naturally. (Martin going full hillbilly absolutely sent me). Choreographer Maureen Bowra has found another way to torture people in a show already dedicated to that activity. The song threatens to become the one that never ends, and I'm not convinced the detectives would mind. Bowra's choreography makes inventive use of the physical limitations of being attached to other humans. Thankfully, costume designer Jemma Crowhurst has provided padding and knee protection for the cast's prolonged adventures on the floor. Even a mad scientist's victims deserve appropriate workplace safety considerations. Thomas Currie's score features catchy melodies, clever reprises, and outrageous lyrics. Hartley and Catton enjoy a good pun, particularly involving rear-ends, bodily functions, or unfortunate positioning. Gleeson's song 'I'll Be Right Behind You' acquires an entirely different meaning here. The Act One finale weaves earlier songs together during Lindsay's morphine-induced nightmare. Even the musical numbers end up interconnected. I also caught references to Les Misérables, Hamilton, and A Chorus Line. 'Three Heads Are Better Than One' brings sparkling showmanship to a grotesque situation. Nate Stevenson's musical direction and sound balance ensure every dreadful pun comes through clearly. Claire Yorston's lighting design is equally sharp, with precisely timed cues and bold colour changes complementing the show's over-the-top parody style. During 'Hide and Seek', I caught myself thinking, 'Oooh, lighting change!' (Yes, I'm that person.) Alongside Tamzen Hunter's set and projections, the technical design provides a fuller playground for the madness. For all its disgusting subject matter, the staging is less visually revolting than expected. One fart noise (more of a shart, really) does much of the dirty work, while the costumes leave plenty to the imagination. The actors even break the fourth wall to judge us for attending this show in the first place. I glanced around the theatre to see most audience members covering their mouths in shock. Quite the collective reflex, considering what we've paid to watch. Perhaps we're instinctively protecting ourselves from recruitment? As the show acknowledges, "As sadistic as it is, I want to know how it ends." And I did. The performers commit completely to the satire, and I became invested in these ridiculous characters despite knowing their ghastly predicament. The Human Centipede Parody Musical is gleefully stupid, unashamedly camp, and wildly inventive (and far more entertaining than an adaptation of this film has any right to be).

A Drop Too Many Presented by Backbone Festival Written and directed by Maxi Mossman Co-writer: Peyton Hutchins Stage Manager and Costume Designer: Paige Elms Sound Designer: Andrew Oxford Lighting Designer: Caleb Bartlett Video Designer: Lani Dwyer Cast: Angela Barnard, Connor Costin, Ally Marie Wilson, Liam Linane, and Anabella Gregory Photography: Ulf Yeh (@ulfs_photography) Date Attended: 8 October 2026 "Do we swim against the pull or just let go?" I recall the four-minute shower timers, saving water in buckets, my unusual interest in the weather forecast as a child, and the silent judgement directed at anyone caught using a sprinkler or hose. Growing up in Brisbane during the Millennium Drought, these restrictions were part of daily life. After watching A Drop Too Many at Backbone Festival, I realised how much of that childhood has been lingering in my memory, waiting for someone to bring it up. Written and directed by Maxi Mossman, with co-writer Peyton Hutchins, A Drop Too Many examines Australia's complicated relationship with water. Inspired by the 2022 floods across South-East Queensland and Northern NSW, the production draws on real community experiences. Stories of hardship, resilience, and human connection unfold through verbatim testimony, poetry, and physical theatre. First presented at Anywhere Festival in 2023, the work has since evolved through Backbone's HUB Residency, bringing the Australian bush indoors to the Ron Hurley Theatre. A desolate patch of Australian bushland greets us. Brown dust covers the ground, a bare tree stands among barrels and buckets, and newspapers lie scattered around. The predominantly beige and white costumes by Paige Elms look as though they've absorbed the dust themselves. There isn't a speck of greenery in sight. Emerging from the darkness, performers crawl and contort across the dirt with distorted expressions. Their limbs twitch and jolt as though they're receiving electric shocks, and their movements wouldn't look out of place in The Walking Dead… It's an unsettling introduction to the ensemble's physical storytelling. Throughout the production, the five performers shift between characters, narrators, and representations of the natural elements. Bodies tumble and intertwine, demonstrating considerable strength, control, and trust in one another. We begin with the droughts of the early 2000s. Angela Barnard and Ally Marie Wilson recount the familiar routines of a water-conscious household. I found myself mentally ticking off each one. Timed showers? Check. Prickly dead grass? Check. An intense obsession with the weather forecast? Check. I vividly remember the restrictions from ages seven to eleven, but I'd started to wonder whether my childhood imagination had exaggerated the severity. Hearing these experiences described onstage reminded me that these experiences (endless dry days, constant conservation, excitement over potential rainfall) were shared by an entire generation. Maxi and Peyton's script is rich in these recognisable details, capturing the peculiar routines that emerged when every drop of water was precious. "When you're five and the world is still so new, no one tells you this isn't normal." Dialogue fractures between all five performers, with phrases passed back and forth in quick succession. Their precise timing creates the impression of multiple memories being recalled at once. Even the silence of drought is noted. No birdsong, no sprinklers, no cicadas, no lawnmowers… Andrew Oxford's sound design moves between this eerie stillness and a rich soundscape of birds, insects, rainfall, rushing water, and historical news reports. "Too many days exactly the same... Hoping it will get better next week, next month, next year." And then, finally, the rain arrives. The group's reaction is childlike. Faces turn skyward, bodies freeze in delight, and tongues stretch out to catch imaginary droplets. Their poses loosen and they start dancing as the pattering sounds develop into a downpour. After so much drought, the sense of relief spreads among them like a contagion. I can practically smell that glorious scent of rain hitting the parched earth. But Australia's rainfall has never been particularly good at moderation… What was once a landscape desperate for moisture is suddenly drowning in it. Caleb Bartlett's lighting design trades bright oranges and fiery reds for deep, saturated blues. Lani Dwyer's video projections flash images of rain, inland tsunami, cyclone, and flooding. Combined with Andrew's soundscape, these elements transform the modest theatre into a hostile, waterlogged environment. One of the production's most inventive choices is its use of translucent plastic sheeting to depict water. Initially, it ripples gently across the stage, but as the flooding intensifies, it rises and thrashes around the performers, swallowing their bodies beneath its surface. Anabella Gregory spends a disconcerting amount of time underneath the material (could you breathe?!). Watching the lightweight plastic billow and twist around the ensemble is mesmerising, its movement evoking the overwhelming force of the inland tsunami that tore through Toowoomba and the Lockyer Valley. Strobing lights accentuate the violence of the floodwaters as the group battles the current. Liam Linane's frantic attempts to "swim" to safety capture the exhausting futility of fighting water that refuses to release you. Performers cling to one another and scramble for higher safety. The bare tree becomes a beacon, a sanctuary. Illuminated with colour from within, its trunk glows against the surrounding darkness. The accounts of the 2011 Brisbane floods are uncomfortably familiar. At fifteen, I was old enough to grasp the danger but too young to understand the enormous burden placed on my family. Through personal recollections and archival recordings, we're reminded of the sudden evacuations, SES volunteers who appeared like superheroes, and the extraordinary mobilisation of Brisbane's Mud Army. I remember watching people arrive from everywhere, armed with shovels, buckets, and a determination to help us. The water may eventually recede, but the mud of the Brisbane River remains. My home was unrecognisable, belongings were contaminated or floated away, and treasured possessions disappeared beneath layers of debris. "Memories are scattered throughout the mud." Moving beyond Brisbane, the production also examines rural communities, where drought endangers livelihoods and natural disasters threaten lives. Connor Costin delivers a powerfully confronting portrayal of a farmer driven to despair. His frustration escalates into anger as he describes starving animals, mounting financial burdens, and the agonising responsibility of euthanising livestock to prevent further suffering. Even the toughest farmer has a breaking point, and Connor's strained physicality exposes the exhaustion beneath his character's fury. It's an important perspective on the emotional and financial toll that rarely receive the same attention as those affecting our cities. Anabella Gregory provides a scientific perspective, swiftly and thoroughly explaining how El Niño and La Niña influence Australia's weather patterns. Her exchanges with Liam Linane offer a reprieve from the heavier material. They share a physical duet in which his excessively clingy behaviour continually interrupts her explanations. It's like attempting to deliver a serious class presentation while your partner insists on using you as a climbing frame. The storytelling has a collage-like quality, moving between personal recollections, scientific explanations, recorded testimony, and abstract movement. Announcement of newspaper headlines paint a picture of a country perpetually bracing for the next climatic emergency. Exaggerated slow-motion movement turns a family sitting together and drinking water into an almost ceremonial occasion. Ally and Connor's swinging, circular arm movements look like an impromptu rain dance, as though they might summon a change in the weather through sheer willpower. Despite its confronting depictions of loss, A Drop Too Many is equally interested in the care Australians offer one another in a crisis. The final scenes replace isolated suffering with physical connection. Arms wrap around shoulders, performers support one another's weight, and the ensemble gathers around the tree that has weathered so much alongside them. I find A Drop Too Many fascinating and deeply beautiful. Its portrayal of the Millennium Drought had me reliving childhood memories I hadn't revisited in years. The flood sequences recalled the fear, heartbreak, and astonishing generosity I witnessed firsthand. I feel an intimate connection to these stories, right down to the smallest details. I wasn't expecting a piece of physical theatre to bring so much of my own history rushing back. Maxi and the ensemble have created a visually inventive and physically demanding production that understands the contradictions of living in Queensland. We spend years desperately wishing for rain, only to find ourselves pleading for it to stop. There's beauty in the way this production portrays both the ferocity of our landscape and the tenderness of the people living within it. I connected with A Drop Too Many more deeply than I anticipated, and I left with an overwhelming appreciation for the communities who continue to pick themselves up, clean off the mud, and help their neighbours do the same.

Bring a Very Big Net Presented by Backbone Festival Writer: Zoë Schramm Director: Annabel Gilbert Stage Manager: Kat Coomber Dramaturg: Jordon Riley Cast: Bec Day, Eve Grace, Hayden Parsons, Geena Schwartz Photography: Ulf Yeh (@ulfs_photography) Date Attended: 8 October 2026 "Cringe is a cage and I want to be a free bird!" Four unlikely explorers venture into the bush in pursuit of a legendary creature. Equipped with backpacks, problematic survival skills, and an alarming amount of confidence, this expedition into Mount Kilcoy National Park is already looking like a disastrous idea. Written by Zoë Schramm and directed by Annabel Gilbert, Bring a Very Big Net is an outrageously silly Australian comedy about yowie hunting, unlikely friendships, and four people carrying far more emotional baggage than their backpacks can hold. Presented as part of Backbone Festival, this camping trip features slapstick comedy, bizarre plot twists, and an unexpected amount of Kylie Minogue... Leading the expedition is Leah (Bec Day), a wildly enthusiastic yowie believer determined to prove the existence of Australia's elusive hairy cryptid. Her incredible energy is exhausting just to watch. Bec throws herself into Leah's increasingly ridiculous schemes with the conviction of someone who has never once considered the possibility that she might be wrong. Then there's Julian (Hayden Parsons), a fitness fanatic who appears to have mistaken being physically fit for knowing how to survive in the bush. Hayden spends much of the play skedaddling around the stage, flinging himself into situations without a moment's foresight. His dramatic reactions and inexhaustible energy are hilarious. Alice (Eve Grace) is a TikTok "influencer" with 40K followers, a fully charged phone, and an outfit better suited to a pilates class than a trek through the Australian bush. She's vegan, fluent in Gen Z slang, and convinced that every experience (however life-threatening) can be transformed into online content. Eve nails Alice's exaggerated mannerisms, chirpy delivery, and complete lack of self-awareness. She's hopelessly out of her depth, although I'm not entirely convinced she'd notice anything out of the ordinary unless someone pointed it out in the comments. And finally, there's Charlie (Geena Schwartz), a thoroughly unimpressed park ranger who has exhausted her patience before the expedition has even begun. While the others debate mysterious noises in the wilderness, Charlie offers the less supernatural explanation: "it's just koalas mating!" Geena's deadpan delivery and facial expressions are bloody golden. A raised eyebrow, a withering stare, or a look of pure disbelief tells us exactly what Charlie thinks of these idiots without her having to say a word. I spent half the performance watching her react to everyone else's nonsense. The set has styrofoam trees, large green net, and Mount Kilcoy NP sign. Plus, voodoo-like dolls are used to track the hikers' locations (a navigation system I wouldn't recommend). Even the theatre's existing architecture gets involved, with a hole in the wall put to imaginative use. A Chewbacca-looking visitor might even make an appearance there... "How long till we start eating people?" asks Julian. "Cannibalism is very anti-community," Alice responds. The dialogue is full of these ridiculous exchanges. Naturally, everything that could go wrong on this camping trip does: bad weather, venomous wildlife, lack of food, injuries, and arguments. Director Annabel Gilbert keeps the action moving, making excellent use of the cast's physical comedy and willingness to look completely ridiculous. At one point, a spider bite sends Leah into a psychedelic state and Bec's performance becomes entirely unhinged. Poor Charlie trying to coax Leah into cooperating is like attempting to shepherd an overtired toddler through a supermarket, except this toddler is hallucinating yowies. And then there's Kylie… The unmistakable "la la la" of Can't Get You Out of My Head repeatedly interrupts the adventure, providing the perfect beat for bushwalking. I bet the song is in your head now too! As wildly exaggerated as these four characters are, they're all lonely, secretive, and a bit weird. Each has something they're avoiding, and being stuck in the bush together is proving a rather inconvenient way to keep those things hidden. Between the arguments and absurd discoveries, they begin to learn a few things about themselves and one another. Aww. Bring a Very Big Net is a hilarious and affectionate addition to the Backbone Festival. I love how wholeheartedly the cast commits to all the nonsense, right down to the spontaneous choreography. Beneath the yowie masks lies a sweet story of four oddballs finding friendship in unlikely circumstances. Come with your funny bone, leave your common sense at home, and bring a very big net...