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Cast : Maddison Burridge, Billy Fogarty, Hayden Spencer Playwright: Sophocles Co-Directors: Courtney Stewart & Nigel Poulton Dramaturgy : Courtney Stewart & Brady Watkins Set & Costume Designer: Josh McIntosh Composer & Sound Designer: Brady Watkins Lighting Designer: Teegan Kranenburg Photography: Dean Hanson Photography / Jacqueline Bawtree “No man can foretell his fate.” More than two millennia after it was first written, Sophocles’ Antigone  still speaks with unsettling timeliness. In La Boite Theatre’s striking new staging, co-directors Courtney Stewart  and Nigel Poulton  have crafted a production that explores authoritarianism , defiance, grief and the dangerous rigidity of single-minded convictions. It is theatre that asks its audience to listen carefully, think deeply, and confront the consequences directly.   The play unfolds in the immediate aftermath of a civil war. Antigone’s brothers, the princes Polyneices and Eteocles, have killed each other in battle, leaving their city of Thebes fractured. These fallen princes are henceforth embodied through cloak and helm. The newly crowned king, Creon — Antigone’s uncle — declares one a hero deserving burial and the other a traitor condemned to rot unburied as a warning to the state. What follows is not merely a family dispute, but a collision of principles. Even for audiences unfamiliar with Greek tragedy, the central conflicts are immediately clear and strikingly recognisable today: loyalty versus law, conscience versus authority, the will of the people against the pride of the ruler. The directors frame this ancient dilemma through a highly physical theatrical language that draws on Poulton's action-based performance practice. In this world, the body is never neutral. Characters move continuously through the roundhouse space in shifting choreographic patterns. Bodies crouch, crawl, bow, rise and fall across the levels of the set, embodying the forces that constrain and compel them. The visual world of the production is striking in its clarity and symbolism. At the centre of the stage sits a circular platform carved with a shallow, sunken grave. Josh McIntosh’s set design features a pale stone surface etched with fissures that evoke ancient marble, while the vertical layers glow with warm clay tones. The design creates the impression of an arena — part burial site, part civic forum — where private grief and public judgement collide. A raised walkway and stepped platforms extend from the circle, allowing characters to ascend above the action or descend toward the grave. From a narrow opening above, dusty pebbles periodically rain down into the pit. The roundhouse seating reinforces the production’s themes of public debate, with characters frequently addressing the audience directly as though speaking before a civic assembly. The audience becomes witness, jury and citizen all at once. Suspended above the stage, a ring of lighting reflects the circular shape below, casting cool blue washes and sharp spotlights that isolate characters in moments of confrontation or reflection. Teegan Kranenburg’s  lighting design heightens this effect, especially in the electrifying appearance of the blind prophet Teiresias, where sharp strobe moments fracture the space in flashes of foreboding. The costumes, also designed by Josh McIntosh , perfectly align with the production’s “modern myth” aesthetic — one particularly committed audience member even arriving in a toga on opening night. The flowing silhouettes and soft, neutral fabrics reflect the drapery of ancient Greece, yet maintain a contemporary style in their cut and transparency. Hayden Spencer’s Creon sports a tailored vest decorated with a medal, evoking modern military authority and political clout. The soundscape by Brady Watkins  is particularly effective, layering heartbeats, rumblings, distant screams and choral textures that echo through the theatre. These moments often feel like the pulse of the story itself, amplifying the tension between the human and the mythic. Transitions are underscored by voiceovers of Sophocles’ words, grounding the production firmly in its classical origins even as the staging speaks in a contemporary theatrical language. The ensemble of three is a mighty force. At the forefront stands the sensational Maddison Burridge  as Antigone. She brings composure and emotional depth to Antigone’s grief, love, and fierce moral conviction. Antigone’s defiance does not stem from stubbornness but from an unwavering sense of justice, and Burridge allows that humanity to shine through the text’s formal language. Her declaration, “Our work is never finished. Our tears never dry,” resonates with a haunting impact.   Billy Fogarty  moves fluidly between roles as Ismene, Haimon, Teiresias and the Sentry, demonstrating remarkable versatility. As Ismene, they convey the tension between loyalty and fear with sensitivity, while their turn as the bumbling Sentry provides flashes of comic relief. The Sentry's nervous, long-winded attempts to report to the king are played with deliberate hilarity. As Haimon, however, Fogarty delivers one of the evening’s most compelling exchanges opposite Creon, arguing passionately for logic and the voice of the people. Their confrontation becomes a heated debate between generational reason and authoritarian certainty. Hayden Spencer commands the stage with a Creon whose authority and pride are felt in every word. He knows he does not need to overplay dominance; it is embedded in his person and vocal precision. He spits out the words “woman” or “girl” with palpable disdain; you can almost see the misogyny dripping off his tongue. Antigone in turn responds with equal bitterness when mentioning “men,” underlining the play’s inherent battle of the sexes. Spencer also finds flashes of dark humour within Creon’s demeanour, often in a mocking tone. The production’s dramaturgy, credited to Courtney Stewart  and Brady Watkins , draws thoughtful connections between Sophocles’ text and the contemporary world. At one point Antigone sheds her mythical origins to speak directly to our modern challenges, naming women across the globe who continue to pursue justice and dignity today. It is a reminder that Antigone is not a singular figure of the past but one voice in a long line of resistance since. The language of Sophocles is intricate and philosophical, and the production refrains from simplifying its intellectual complexity. Instead, it trusts the audience to engage. For seventy focused minutes, the play asks for attention, patience and thoughtfulness, and rewards it with moments of startling stagecraft. The questions posed by Antigone remain painfully familiar. What happens when leaders equate disagreement with disloyalty? When pride outweighs compassion? As one line reminds us, “All men make mistakes, but a good man yields when he knows his course is wrong… the only crime is pride.”   La Boite’s production does not offer easy answers. Instead, it invites audiences to sit within the complexity of opposing truths. In doing so, it demonstrates why this ancient tragedy continues to resonate across millennia: because the struggle between authority and conscience is never truly resolved. In this powerful staging, Sophocles’ tragic story feels less like a relic of the past and more like a mirror held up to the present.

Title:  Frozen Presented By:  Cope Creative Genre:  Musical Theatre Synopsis: Inspired by the beloved Disney story, Frozen – The Broadway Musical transports audiences to the kingdom of Arendelle, where sisters Elsa and Anna must navigate love, fear, and the power of family. When Elsa’s magical powers spiral out of control, she isolates herself from the world, leaving Anna to embark on a dangerous journey to bring her sister home. Filled with spectacular theatrical moments and unforgettable music, this production celebrates adventure, heart, and the magic of storytelling. Audition Date: Video auditions open Thursday 5th March 2026 and close Thursday 26th March 2026. Callbacks: Sunday 29th March 2026 Audition Time: Callbacks 10AM - 4PM Audition Location and Address: Callbacks held in person (location provided to successful applicants). Audition Self-Tape Due: Thursday 26th March 2026 Audition Registration: Submit via the Audition Form HERE Audition Pack: Audition materials (dance, sheet music, and backing tracks) HERE Performance Dates: 5th –7th June 2026 Performance Times: Friday - 6PM Saturday – 1PM & 6PM Sunday – 1PM Performance Location: The Events Centre Caloundra, 20 Minchinton St, Caloundra QLD 4551 Rehearsal Dates: 29th March – 5th June 2026 Rehearsal Times: Sundays 10AM - 4PM Thursdays 6PM - 9PM Tech Week: 3rd June 2026 – 9AM – 9PM 4th June 2026 – 11AM – 9PM 5th June 2026 – 11AM – 9PM Rehearsal Location: Sunshine Coast (venue details provided to cast). Warnings: This production includes theatrical haze, strobe lighting effects, loud music, and pyrotechnics. Performer Age: Main cast - 18+ Youth roles - Ages 8–13 (Young Elsa and Young Anna; double cast). Creative Team: Director - Riley Cope Production Website: Cope Creative - Frozen Other Information: This production is presented under a community theatre model and is a voluntary performance opportunity. Callbacks will include singing, acting, and dancing. Performers must be available for rehearsals, tech week, and performances. The show runs approximately 2.5 hours with a 20-minute interval. Contact - producer@copecreative.com.au Available Roles / Character Breakdown: Elsa (Female) – Future Queen of Arendelle and Anna’s older sister, born with magical powers she fears she cannot control. Vocal Range: E3–Eb5. Anna (Female) – Princess of Arendelle; optimistic, warm-hearted, and determined to reconnect with her sister. Vocal Range: G3–E5. Kristoff (Male) – A hardworking ice harvester with a tough exterior and a loyal heart. Vocal Range: A2–Bb4. Prince Hans (Male) – Charming and ambitious prince of the Southern Isles. Vocal Range: A2–A4. Olaf – A magical snowman with childlike innocence and boundless enthusiasm. Vocal Range: E3–Eb5. Sven – Kristoff’s loyal reindeer companion. Oaken (Male) – Cheerful shopkeeper and champion of hygge. Vocal Range: A2–Bb4. Weselton (Male) – Duke from a neighboring kingdom; judgmental and opportunistic. Vocal Range: F3–A4. Queen Iduna (Female) – Elsa and Anna’s compassionate mother. Vocal Range: F3–E5. King Agnarr (Male) – Protective father of Elsa and Anna. Vocal Range: B2–C4. Pabbie (Male) – Wise shaman and patriarch of the Hidden Folk. Vocal Range: Ab2–Gb4. Bulda (Female) – Warm and nurturing matriarch of the Hidden Folk. Vocal Range: Bb3–D5. Young Elsa (Female, 8–12) – Elsa as a child discovering her magical powers. Vocal Range: A3–E5. Young Anna (Female, 8–12) – Anna as a child, energetic and fascinated by Elsa’s magic. Vocal Range: Bb3–E5. Ensemble – Townspeople, guards, palace staff, Hidden Folk, Oaken’s family and friends, and other featured roles. Ensemble members sing, dance, and portray multiple characters throughout the show.

Title:  Billy Liar Presented By:  Act 1 Theatre Genre:  Comedy / Drama Synopsis: Billy Liar follows Billy Fisher, a young man stuck in a dull Northern English town whose vivid imagination offers him an escape from reality. Billy constantly invents elaborate fantasies and lies to cope with his frustrations, juggling relationships, work, and family expectations while dreaming of a more exciting life elsewhere. The story humorously and poignantly explores ambition, honesty, and the tension between fantasy and reality. Audition Dates: Sunday 22nd March Tuesday 24th March Audition Time:   Sunday - 11AM Tuesday - 7PM Audition Location and Address:  Act 1 Theatre, 238 Gympie Rd, Strathpine QLD 4500 Audition Requirements: Auditions will be conducted by cold read from the script. All performers must be able to perform with a Northern English accent. Audition Registration: Please contact Debbie Hossack on 0431 843 887 or email debkhossack@gmail.com ​if you need more information Performance Dates:  June 5th - 21st, 2026 Performance Location: Act 1 Theatre, 238 Gympie Rd, Strathpine QLD 4500 Performer Age: 18+ Creative Team: Director - John Sayles Production Website: Act 1 Theatre - Billy Liar Other Information: The production requires Northern English accents for all roles. The cast consists of 5 women and 3 men. Available Roles / Character Breakdown: Billy Fisher (Male, acting age 20–25) – The imaginative dreamer at the centre of the story. Charismatic, restless, and always dreaming of a bigger life beyond his small town. Florence Boothroyd (Female, acting age 75+) – Billy’s eccentric grandmother with a sharp wit and memorable presence. Geoffrey Fisher (Male, acting age 50) – Billy’s father; practical, blunt, and often frustrated with his son’s behaviour. Alice Fisher (Female, acting age 50) – Billy’s mother; caring but weary of Billy’s constant schemes and lies. Arthur Crabtree (Male, acting age 20–25) – Billy’s friend and co-worker; more straightforward and grounded. Barbara (Female, acting age 20–25) – One of Billy’s girlfriends; sincere and hopeful about their relationship. Rita (Female, acting age 18–25) – Independent and spirited, offering Billy the possibility of a different future. Liz (Female, acting age 20–25) – Another of Billy’s romantic entanglements, contributing to the web of Billy’s lies.

Title:  Boy Slaughter Presented By:  Sun and Wine Arts Company Genre:  Drama Synopsis: Jimmy is an artist. His dad, Brute, is a butcher with short, stubby, inartistic fingers. In Boy Slaughter , Jimmy relives growing up in a small town with big characters and his desperate escape from it all. This script is a wild ride which dives into messy relationships, power, survival, and the strange things people can do when they are pushed too far. It is the kind of story that gets under your skin. Audition Self-Tape Due:  6PM, Sunday March 15th, 2026. Audition Requirements:   Video audition consisting of a short 30 second–1 minute monologue relating to the character you are auditioning for. Submission via unlisted YouTube video or unlisted google drive link. Audition Registration:   Complete the Audition Registration form HERE Submit your video audition via email to sun.wine.arts@gmail.com . Audition Pack:  Sides will be provided if required for callbacks. Performance Dates:  June 4th - 13th, 2026 Performance Location:  Studio1, 190 Station Rd, Yeerongpilly QLD 4105 Warnings:  Mature themes. This production includes intense subject matter and may involve staged intimacy. An intimacy coach will be present. Performer Age:  18+ Creative Team: PM - Claire Yorston Director - Laura Renee Assistant Director - Claire Yorston Tech - Carter Firmager Intimacy Coach - TBC Production Website: Sun and WIne Arts Company - Boy Slaughter Other Information: This production operates on a profit share model. In-person callbacks will be held one evening during the week following the audition deadline. Selected performers will present their original monologue, participate in a cold read of a scene, and may take part in some workshop-style exploration. You will receive an email regarding whether you are required for a callback. All auditionees will be notified of the outcome of their audition by 22 March. Available Roles / Character Breakdown: Jimmy Slaughter (Male, 18–25) – A young artist trying to find his voice and escape the small town he grew up in. Reflective, creative, and shaped by the difficult relationships around him. Brute Slaughter (Male, 35–60) – Jimmy’s father. A butcher with rough hands and a tough presence. A complicated man whose worldview clashes with his son’s artistic ambitions. Nell (Female, 18–25) – Jimmy’s neighbour and best friend. Loyal and grounded, she is deeply connected to Jimmy and the town they grew up in. Rosie (Female, 35–60) – Brute’s girlfriend. Strong-willed and experienced, navigating her place within Brute’s world and the dynamics of the family. There will be flashback scenes where characters portray younger versions of themselves.

Jesus Christ Superstar – Redcliffe Musical Theatre Music and Lyrics by:  Andrew Lloyd Webber and Tim Rice Presented by:  Redcliffe Musical Theatre at Redcliffe Entertainment Centre Director/Producer:  Madeleine Johns Assistant Director:  Zahlee Brackstone Musical Director/Conductor:  Rhonda Davidson-Irwin Band Leader/Guitar:  Lachy Stewart Choreographer:  Jill Lazuta Set Design:  Jonathan Johns Lighting Design:  Jacob Olsen, Chris Walker, Madeleine Johns Sound Design:  Andy Weldon, Angus Pitman Costumes:  Vanessa Hall, Erickson Ilustre, Madeleine Johns Photography:  Bruce Redman, Christopher Sharman "Why are you obsessed with fighting times and fates you can't defy? If you knew the path we're riding you'd understand it less than I." Andrew Lloyd Webber and Tim Rice’s 1970 rock opera is intense, vocally demanding and relentless; essentially two hours of continuous singing, soaring guitars and emotional confrontation. It is not an easy show to pull off, which made Redcliffe Musical Theatre’s ambitious production all the more impressive to watch. Having seen Superstar  several times over the years, I always find it fascinating to see how each production tackles the sheer scale and stamina required by the score. So naturally, the first thing that grabbed my attention was the band. Perched on stage like rock ’n’ roll royalty, they tackled the famously tricky rock score like seasoned pros. Led by the dynamic duo of Musical Director and Conductor Rhonda Davidson-Irwin and Band Leader Lachy Stewart shredding on guitar, the musicians gave the show its driving heartbeat. Superstar  lives and dies by its music, and this band knew exactly what they were doing. Electric guitar riffs cut through the theatre beautifully, while moments of flute added lyrical softness. The score is demanding, but the musicians handled it with impressive stamina. By the end I felt like they deserved a hot tea and a lie down. Visually, the production embraced a modern industrial aesthetic. Jonathan Johns’ set centred around scaffolding structures and a raised plateau which transformed later into the crucifix itself - a striking image when it mechanically rose up. Combined with the haze and dynamic lighting design from Jacob Olsen, Chris Walker and Madeleine Johns , the stage was always sculpted by beams of light and colour, heightening the emotional moments and giving the show a strong visual identity. Choreographer Jill Lazuta jazzed up the ensemble with sharp, energetic movement. The group numbers had fun with contemp and hip hop influences, particularly in “What’s the Buzz”, where the followers moved in tight formations and layered canon sequences that grew from a handful of people into a surging crowd. The ensemble worked hard throughout the show, maintaining the momentum required in a sung-through musical where the story rarely pauses. In the spotlight we had Jeandré Le Roux as Jesus, belting out tunes like a rockstar at a heavenly karaoke night. His timbre had a stunning classical musical theatre clarity that soared through the score, first evident in his angelic rendition of “Poor Jerusalem”. His standout moment came during “Gethsemane”, of course, where the combination of haze, dramatic spotlights and his expressive performance created one of the show’s most gripping scenes. The famously punishing high notes landed with awe, drawing a very audible reactions from the audience - a kind of collective “Did we just witness a miracle?!" Erickson Ilustre brought fierce energy and vocal power to the role of Judas. Arguably the emotional engine of the show, Ilustre embraced that fury and desperation. His delivery in “Damned for All Time” was particularly strong, navigating the rapid fire lyrics with impressive clarity while the electric guitar ripped alongside him. His portrayal of Judas’ demise (spoiler alert ha!) captured the character’s turmoil and guilt. In the intensity of the moment some of the lyrics became difficult to catch, but his emotional storytelling got the point across. Stephanie Collins as Mary Magdalene provided a beautiful emotional counterpoint to the storm around her. Her voice had a gentle, angelic quality like a lullaby. Her solo moments were delivered with sincerity and warmth, particularly when she stepped downstage to sing directly to the audience for “I Don’t Know How to Love Him”, drawing us into Mary’s blanket of compassion and confusion. A microphone issue during “Everything’s Alright” meant her voice did not cut through as clearly as it deserved, but Rhonda’s flute accompaniment was absolutely gorgeous there. Th e Pharisees str utted onto the stage with an air of ominous doom. Steven Eggington’s Caiaphas delivered a truly resonant low bass that vibrated through the theatre, while Anthony Van Stam as Annas matched him with an exquisite vocal presence of his own. Their scenes together created an imposing wall of sound, especially when supported by the intense offstage gospel style chorus proclaiming “Crucify him!" Lucas Van Stam injected joyful energy into “Simon Zealotes”, complete with cheerleader-at-church style choreography by the ensemble. Jake Hollingsworth as King Herod leaned fully into the character’s outrageous theatricality. His flamboyant accent, playful sass and flapper backup dancers made “Herod’s Song” the most entertaining moment of the night. Honestly I was wishing he had a crown to top off the look. If you are going to be that fabulous, you might as well go all in! Vocally, the production delivered many impressive moments, particularly from the apostles' harmonies in "The Last Supper". However, in a show that is essentially wall to wall music, clear and purposeful staging becomes crucial. At times the blocking felt a little sparse, leaving performers with plenty of stage to roam but not much to do. For instance, “The Temple” is often staged as a chaotic explosion of movement like a casino floor, yet here it felt more contained than expected. Or when the lepers crowd around him, I expected Jesus to appear more overwhelmed by the chaos than he did. There were also a few dramatic moments that could grow further with stronger physical reaction. During the 39 lashes scene the emotional stakes would have felt even stronger if Jesus’ physical response had matched the brutality being implied. The title song “Superstar” had the cast grooving with its boogie-style moves and disco ball. Ilustre as ghost-Judas rocked a memorable red leather outfit, but spent much of the number addressing Jesus rather than the audience, which made the energy feel slightly inward for such a big show-stopping moment. It's the kind of number that practically begs the performer to play directly to the crowd, not just to the Son of God. But at this point, I am just nitpicking as a result of being cursed to have seen Superstar enough times to develop strong opinions about biblical staging logistics, apparently. Jesus Christ Superstar  is a challenging show for any company to mount. It demands vocal stamina, emotional intensity, strong musicianship and clear storytelling, often all at once. Redcliffe Musical Theatre approached the material with ambition, musical strength and clear respect for the iconic score. With a talented cast, a rock solid band and striking visual elements, this production delivered many memorable moments from a musical that continues to dazzle more than fifty years after it first shook the musical theatre world.

The Shawshank Redemption Presented by Ipswich Little Theatre Based on the novella by  Stephen King Adapted for the stage by  Owen O’Neill and Dave Johns Director & Set Design:  Shane Mallory Assistant Director:  Amanda Harrison Stage Manager:  Leanne Bamford Sound & Lighting Design:  Phil Holmes Costumes:  Dior Austin-Greenhill Dialect Coach:  Martie Blanchett Photography:  Amanda Harrison   “On the outside I was an honest man, straight as an arrow. I had to come to prison to be a crook.” Few stories about hope and resilience are as enduring as The Shawshank Redemption . Ipswich Little Theatre’s production brings the iconic tale to the stage with an intimate and atmospheric interpretation inside the aptly industrial Incinerator Theatre. With only five rows of seating, you are right inside Shawshank whether you like it or not. (Practical tip: take a cushion. Three hours on those seats is not for the faint of backside!) From the first piercing wail of sirens, low groans of metal and the sombre piano underscoring, the production establishes its intention: cinematic storytelling on a compact stage. First penned in 1982 by Stephen King and immortalised in the 1994 film (still IMDb’s highest-rated film), this stage adaptation leans heavily into resilience, institutionalisation, and the dangerous, radical act of hope. When banker Andy Dufresne is sentenced to life imprisonment for a double murder he insists he did not commit, he finds himself navigating the harsh realities of Shawshank Prison. There he forms an unlikely friendship with Ellis Boyd “Red” Redding, the prison’s pragmatic contraband smuggler. Over the course of two decades, Andy’s quiet resilience and determination begin to chip away at the despair that surrounds the men of Shawshank. Within the stone walls designed to crush hope, it flickers — sometimes dimly, sometimes defiantly. Jon Darbro delivers a remarkably thoughtful portrayal of Andy. As a banker from New England, Andy’s speech is educated, calm and articulate, which contrasts with the rougher, more colloquial tones of the other inmates. Darbro captures this refinement beautifully, keeping his delivery measured and steady, even in moments of confrontation. There is also an analytical quality to Andy’s characterisation that Darbro captures with great care. His fascination with small details — geology, numbers, routines — alongside his thoughtful pauses and watchful presence give the impression of a mind that works a little differently from those around him. This is a man who thinks before he speaks and survives through careful observation. At times the resemblance to Tim Robbins’ iconic portrayal is uncanny, particularly in looks, mannerisms and quiet intensity. Physically, the details matter: the banker’s suspenders in early scenes, the darkened makeup under his eyes, the split lip, and the visible wear of Shawshank. Over twenty years, we see subtle ageing through hair, posture and costume, with touches of grey hairspray and wrinkle makeup gradually introduced as the years pass. Chemark Rehder II anchors the story as Ellis Boyd “Red” Redding, the story’s narrator. Rather than attempting to imitate the iconic film performance by Morgan Freeman, Rehder brings his own grounded warmth to the role. Red begins as resigned, a man who has long since abandoned hope, but through his friendship with Andy we gradually see that outlook shift. His narration provides the emotional backbone of the production and guides us through the years spent behind Shawshank’s walls. Many of the show’s scattered moments of humour land through Darbro and Rehder's delivery. ILT's all-male supporting ensemble is strong across the board, with each actor bringing a distinct presence to the prison population. Daniel Stanton's volatile presence as Bogs Diamond is constantly unsettling, while Gaige Harrison’s Rooster trails behind him with an unnerving loyalty and convincing redneck drawl. Shannon Griffiths brings an intimidating authority to Chief Guard Hadley, while inmates are vividly realised by Aaron Evans, Michael Civitano, James Sheehan, Mark Scott and Sean Gibson . Director Shane Mallory — stepping into the role of the Warden — projects natural authority as he speaks with a presidential polish: measured, composed and chillingly self-righteous. Brooks is one of the play’s most intriguing figures, and Jason Lawson handles the role with sensitivity. Lawson captures the character’s nervous energy and quiet despair beautifully, so his monologue — weary, fearful, stripped bare — lands heavily. Brooks represents the tragic side of institutionalisation: the man so shaped by routine that freedom becomes terrifying. The audience reaction during his scene was… interesting. Nervous laughter appeared in multiple places where there is nothing humorous. Perhaps it was due to shock, but nonetheless this isn't a comedy. The weight of those moments deserves silence from the audience. Stage combat appears frequently and is generally well executed. I think more reactive sound from the actors would definitely heighten the physical impact and believability though. Shane Mallory’s set design embraces a rustic minimalism — prison bars, movable tables, bunks and an elevated guard’s viewpoint all contributing to the confined atmosphere of the prison. Costumes by Dior Austin-Greenhill reinforce the world effectively, with numbered prison shirts, denim workwear and the sharply dressed authority figures. Scene transitions, unfortunately, became distracting. Sometimes a buzzer, voiceover or underscored music carried us smoothly forward into the next scene. Other times, there was silence — just the shuffle of tables and actors hauling pieces into view. I began to feel like I should offer to help carry something! After major emotional climaxes, actors would have to stand up and simply walk off while the set was rearranged. It broke the spell more than once, and I heard giggles from the audience. I recommend closing the curtains briefly or masking these resets to preserve the gravity of those big moments (three instances that I recall). Especially in a story built on tension and payoff, transitions must demand respect. Phil Holmes’ sound design is particularly effective. Creeping piano motifs, cello swells, groaning metal, low whistles, sirens, rain and thunder create a soundscape that is immersive and often beautiful in its restraint. There were moments where transitional music choices felt slightly mismatched, and I found myself wishing for subtle ticking to indicate the passing of time. The lighting rig makes strong use of cold blues and stark whites to emphasise the oppressive atmosphere, with warmer tones appearing in rare moments of hope. The use of stage cigarettes certainly adds authenticity. In a theatre this intimate, you will definitely smell Shawshank. Video design leans into the director’s cinematic ambition. Images of the famous Rita Hayworth poster appear throughout Andy’s cell, while larger projections help fill visual gaps and reinforce key moments in the story outside our "set" with shots taken from the film (faces excluded). The projections work best when integrated into action. At times, however, the glowing projected poster remained visible in moments where darkness or exterior settings should have seen it disappear. Perhaps my biggest surprise of the evening was the audience reaction. The audience was highly responsive throughout, reacting strongly to both dramatic and lighter moments. I was particularly amused by the audible gasps at the famous twist. I was honestly stunned that people remain unaware of it, given the novella’s age and the film’s cultural status. But in a way, that reaction is a gift to the actors. Ipswich Little Theatre’s The Shawshank Redemption  is a brilliantly immersive, emotionally grounded production that thrives on strong performances and atmospheric design. Shane Mallory’s direction is largely effective, particularly in its emotional stakes and sense of confinement. It is intimate in a way film cannot be. In five rows, you sit with these men. And as this story has always reminded us, even behind the thickest prison walls, hope has a way of finding cracks. Content warnings:  murder, suicide, abuse, coarse language, sexual assault, gunshots and fake blood. Audiences should be prepared for confronting themes.

Review: The Sound of Music – Youth Edition Presented by:  Redcliffe Musical Theatre and Roar Academy Venue:  Redcliffe Entertainment Centre Producer/Director: Madeleine Johns Musical Director: Rhonda Davidson-Irwin Choreographer: Meredith Bailey   I have watched The Sound of Music  so many times that I could probably recite the script in my sleep. So, sitting down to see the Youth Edition with Roar Academy and RMT felt like revisiting a very familiar friend. I knew exactly where the story was going, but the joy came from seeing how a new group of young performers would bring it to life. Directed by Madeleine Johns , the production moved along at a lively pace as Maria arrives at the stern Von Trapp household and gradually fills it with music again. Projections established the various locations, shifting us from the mountains of Austria to the calm interior of the Abbey. A small staircase and scattered furniture pieces created a simple playing space that allowed scenes to transition without cluttering the stage. It kept the focus squarely on the performers, which suited the streamlined Youth Edition nicely. Ruby Marriott  led the show as Maria (a role shared with Mia Dacey ) and brought a bright voice and witty warmth to the part. Maria is a character who needs both sincerity and mischief, and Ruby leaned confidently into that playful spirit. Her singing was impressively pitch accurate with a clear tone that carried easily through the theatre. What really worked was the chemistry she built with Ben Smith  as Captain Von Trapp. Their early scenes together had a lovely comedic rhythm as Maria’s optimistic approach collided with the Captain’s rigid household rules. Ben Smith , (sharing the role with Joshua Darcy) , presented a commanding Captain Von Trapp with excellent diction and an authoritative presence. His transformation from strict father to rediscovering music again was nicely handled, and his vocals were showcased beautifully in the ensemble version of “ The Sound of Music. ” Later, his rendition of “ Edelweiss” landed with warmth and sincerity. The Von Trapp children appeared in their distinctive navy outfits with Austrian style braids. Isaac Van Stam  (Friedrich), Clover Wilson  (Louisa), Kirill Yaremchenko  (Kurt), Matilda Day  (Brigitta), Daisy Wilson  (Marta) and Alice Ritchie  (Gretl) all brimmed with youthful energy. One of the evening’s standout moments came with “ So Long, Farewell. ” The number was performed by the children alone, without a conductor guiding them. They handled the challenge well, with Kirill Yaremchenko  delivering a particularly memorable moment as Kurt. Matilda Day  also shone as Brigitta, especially during “Do-Re-Mi,” where her expressive charisma suggests a young star in the making. Zola Bulan  brought a lovely presence to Liesl, paired with a warm mezzo tone that suited the role beautifully. Her performance of “ Sixteen Going on Seventeen ” alongside Tyler Haynes  as Rolf was precious, supported by excellent lighting and complex choreography choices from Meredith Bailey . Some of the trickier transitions and movements could have benefitted from a little more rehearsal time to fully settle, but the scene still captured the sweetness of the characters’ young romance. The Abbey scenes offered some particularly lovely vocal moments. Mikaelah Bolton , Darcee Buckingham  and Isabella Giddy  opened the convent atmosphere with a very pretty and proper rendition of “ Maria .” Their sound was clear and elegant, though I did find myself wishing for the harmonies that usually make that number sparkle. Zahlee Brackstone  stood out strongly as Mother Abbess, bringing both gentleness and authority to the role. Her performance of “ Climb Ev’ry Mountain ” was a highlight of the evening, beginning softly before growing into a powerful and resonant finish. She also shared a lovely musical moment with Ruby Marriott  in “ My Favourite Things ,” where the pair blended warmth and sensitivity in the duet. Providing plenty of humour was Angus Pitman  as Uncle Max. Apparently not an actor by trade, his dry delivery proved surprisingly effective, particularly with the line following the children’s performance: “That’s really nice, but it’s no good.” I suspect that line may become my new go to phrase when giving feedback to my own students ha! Because this is the Youth Edition, several familiar elements from the full musical are trimmed or rearranged. The Baroness does not appear in this version, and “ I Have Confidence ” and "Something Good" is absent. Interestingly, “The Lonely Goatherd” appears during the thunderstorm scene instead of “My Favourite Things,” with the ensemble briefly joining in to create a short group number. With fewer ensemble songs available in this version, the opportunities for large group musical moments are naturally more limited. Redcliffe Musical Theatre makes sure to share the roles across multiple casts so that more young performers have the chance to step into the spotlight. It is a generous approach that allows many students to gain valuable experience, even if rehearsal time must be divided between more performers. Overall, this production is a sweet celebration of a classic musical, carried by a group of enthusiastic young performers. For families and lovers of this timeless story, it is always a pleasure to hear those iconic Rodgers and Hammerstein melodies ringing out once again under the musical guidance of Rhonda Davidson-Irwin . After all, few musicals remind us quite so warmly that a little bit of music can change everything.

Title:  Prime Time Broadway 2026 Presented By:  Honour Productions Genre:  Musical Theatre Showcase / Broadway Revue Synopsis: Prime Time Broadway is a musical theatre showcase featuring a range of songs from contemporary Broadway productions. Performers will present solos, duets and small group numbers from well-known musicals. The production aims to showcase Brisbane performers of different ages and experience levels while celebrating modern musical theatre repertoire. Audition Date: Sunday March 29th, 2026 Audition Time: 2 - 4PM Audition Location and Address: Honour Productions Studio, 3/61 Holdsworth Street, Coorparoo QLD 4151 Audition Requirements: Present one musical theatre song of your choice that showcases your voice. Bring your backing track on an aux cable ready device. Auditions are private and vocal only. There is no dance requirement for this concert. Audition Registration: Complete the Audition registration Form HERE. Audition form can be found in audition pack. Audition Pack: Prime Time Broadway 2026 Audition Pack Performance Dates, Times & Location: TBC Rehearsal Dates & Times: To be confirmed after casting. Rehearsal Location: Honour Productions Studio, 3/61 Holdsworth Street, Coorparoo QLD 4151 Warnings: Participants must be available for rehearsals and performance commitments once cast. Performer Age: Youth and adult performers welcome. Creative Team: Produced by Honour Productions creative team. Production Website: Honour Productions - Prime Time Broadway 2026 Other Information: The production features songs from a variety of Broadway musicals including selections such as Alice by Heart , The Last Five Years , Beetlejuice , Sister Act , Hairspray , Waitress , Be More Chill  and others. Available Roles / Character Breakdown: This production is a musical theatre revue, so performers are cast into Solo numbers, Duets, Small vocal groups, Ensemble performers Some younger performer opportunities may also be available depending on casting needs.

Title:  Beauty and the Beast Presented By:  Toowoomba Choral Society Youth Choir Genre:  Musical Theatre    Synopsis:   Step into the enchanted world of Broadway's classic, Disney's Beauty and the Beast, an international sensation that has been produced in 37 countries worldwide. Based on the Academy Award-winning animated feature, the stage version includes all of the wonderful songs written by Alan Menken and the late Howard Ashman, along with new songs by Mr. Menken and Tim Rice. The original Broadway production ran for over thirteen years and was nominated for nine Tony Awards, including Best Musical. The classic story tells of Belle, a young woman in a provincial town, and the Beast, who is really a young prince trapped under the spell of an enchantress. If the Beast can learn to love and be loved, the curse will end and he will be transformed into his former self. But time is running out. If the Beast does not learn his lesson soon, he and his household will be doomed for all eternity. This ‘tale as old as time’ is a beautiful production filled with familiar songs and lots of fun characters. We can’t wait to meet all the talented auditionees who are keen to be part of sharing this story with the Toowoomba community!   Audition Date: Friday March 20th - Group Ensemble Auditions (singing & dancing) Saturday March 21st - Individual Auditions & Group Dance Call Sunday March 22nd - Individual Auditions & Callbacks (if required) Audition Time: Friday - 4:30PM-9PM Saturday - 9:30AM-5PM Sunday - 12PM onwards Audition Location and Address:  Choral Hall, Cnr of Raff and Bridge Streets, North Toowoomba QLD 4350   Audition Requirements: Lead & Supporting Role Auditions: Prepare two contrasting songs in the style of the show (not from Beauty and the Beast ) Maximum length: 1 minute or approximately 32 bars each Prepare one acting side related to the character you are most interested in Sides do not need to be memorised but applicants should be familiar with them The panel may request a cold read of another scene Attendance at a Group Dance Call is required Ensemble / Featured Ensemble / Specialist Dancer: Attend the Group Ensemble audition including singing and dancing Those wishing to be considered as a Specialist Dancer must attend the Specialist Dance Call Tap shoes are recommended for Specialist Dance Call if available Choreography for Specialist Dance/Tap auditions will be sent once audition times are confirmed. General dance choreography will be taught on the day. Audition Registration: Complete the Audition Registration Form HERE Audition Pack: Beauty and the Beast Audition Pack Performance Dates: Saturday July 11th, 2026 Performance Times: 2PM & 7PM Performance Location: Empire Theatre, 54-56 Neil St, Toowoomba City QLD 4350 Rehearsal Dates & Times: Sunday June 28th – Script Read Through (2-5PM) Week 1 Rehearsals June 29th - July 3rd (8AM-3:30PM) Week 2 Rehearsals July 6th - 8th (8AM-3:30PM) Technical Rehearsal - July 9th (1-5PM) Full Technical Run - July 10th (8AM-5PM) Rehearsal Location: Choral Hall, Toowoomba (Empire Theatre for technical rehearsals and performances) Warnings: Cast must be available for the full rehearsal period during school holidays and all production dates. Performer Age: 10 - 18 yrs old Production Website: Toowoomba Choral Society Youth Choir - Beauty and the Beast Other Information: Production Fee: $200 - Members of Toowoomba Choral Society Youth Choir $260 - Non-members Registration includes: Training from experienced creative team members, Inclusive learning environment for beginners and experienced performers, Two weeks of rehearsals, Cast T-shirt, Costume/cast bag, Printed script, Headshot for printed program, Pizza dinner on performance day, Optional accompanist for auditions, Access to tuckshop during rehearsal weeks An optional audition workshop will be held -22 February (9:00am–12:30pm) – Cost $25 Registrations are limited to 80 participants. Invoices will be sent after registration and must be paid in full by Friday 17 April. Payment plans may be arranged if required. Cast members or parents must have access to a private Facebook group for production updates. Choreography videos will also be available on YouTube. Volunteers are essential for this production. All volunteers must hold a Queensland Blue Card. Attendance Requirements: All cast members must attend all rehearsals during the holiday production period (28 June – 10 July). Health & Safety: Cast must not attend rehearsal if experiencing illness symptoms. All cast must sign in and out each day. Primary school students must be signed in/out by a parent or guardian. High school students aged 13+ may sign themselves in/out Food & Hydration: Bring morning tea, lunch, and a labelled water bottle each day. Tuckshop will operate on selected rehearsal days Hair, Makeup & Costuming: Cast members must bring their own basic stage makeup kit. Some costume items such as socks, stockings or shoes may be required from home. Hair and makeup instructions will be provided closer to performances The holiday production focuses on developing young performers’ skills in acting, singing, and dance while working collaboratively in a fun and supportive environment. Available Roles / Character Breakdown: Belle – Vocal Range A3–F5 (Soprano/Alto). Intelligent, adventurous young woman seeking more than ordinary life. Accent: General American. Beast – Vocal Range A2–F4 (Baritone/Tenor). A cursed prince with a fierce exterior but a compassionate heart. Accent: General American. Gaston – Vocal Range A2–F4 (Baritone/Tenor). Confident and arrogant villain determined to marry Belle. Accent: General American. Lumière – Vocal Range A2–F#4 (Tenor). Charismatic enchanted candelabra with a French accent. Cogsworth – Vocal Range A2–E4 (Baritone). Strict and punctual enchanted clock. Accent: General British. Mrs Potts – Vocal Range F#3–G5 (Alto). Warm and maternal enchanted teapot. Accent: General British. Lefou – Vocal Range B2–F#4 (Baritone/Tenor). Gaston’s loyal but comedic sidekick. Accent: General American. Madame de la Grande Bouche – Vocal Range C#4–G5 (Soprano). Former opera diva turned enchanted wardrobe. Accent: General British. Chip – Vocal Range D4–F5 (Boy soprano preferred). Curious and cheerful enchanted teacup. Accent: General American. Babette – Vocal Range C4–F5 (Soprano/Alto). Playful enchanted feather duster. Accent: French. Maurice – Vocal Range C3–G3. Belle’s eccentric inventor father. Accent: General American. Les Filles de la Ville – Gaston’s enthusiastic admirers. Accent: General American. Monsieur D’Arque – Spoken role. Proprietor of the local asylum. Accent: General American. Ensemble – Townspeople, enchanted castle objects, wolves, villagers, and other fairytale characters.

Title:  The Taming of the Shrew Presented By:  Outdoor Theatre Community Genre:  Shakespearean Comedy Synopsis: Moving from the drama of Hamlet  and Macbeth , Outdoor Theatre Community is kicking off the 2026 season with the comedy The Taming of the Shrew . We welcome all interested people regardless of acting experience or gender identity. Casting focuses on selecting the best performer for each role and for the overall production. Audition Date: March 14th - 15th, 2026 Audition Time: 12 - 1PM daily Audition Location and Address: Dragonfly Park, Pallas Parade, Warner, QLD Audition Self-Tape Due: Available upon request if you cannot attend in person. Audition Requirements: Monologues will be provided on the day by the director. No preparation required. Auditionees may request a copy in advance if preferred. Audition Registration: Please complete the registration form HERE Performance Dates: June 13th - 21st, 2026 Performance Times: 2PM Performance Location: Dragonfly Park, Pallas Parade, Warner, QLD Rehearsal Dates: Monday and Wednesday evenings. Some Saturday rehearsals may be required closer to the performance dates. Rehearsal Times: 6PM - 9PM Rehearsal Location: Dragonfly Park, Pallas Parade, Warner, QLD Warnings: This production is performed outdoors. Performer Age: Open to all ages Creative Team: Director – Lucas Hanlon Production Website: Outdoor Theatre Community Facebook Page Other Information: All auditions, rehearsals, and performances are held outdoors at Dragonfly Park. All cast, committee members, and backstage crew must become a member of Outdoor Theatre Community for insurance purposes. Membership costs $1 per year. For further enquiries, please contact the committee at otc.generalenquiry.com

Presented by : Cosmo Creative Venue : PIP Theatre Written by:  Zachary Lurje and Daniel Gough Production Design: Matti Crocker Lighting Design: Jon Whitehead Sound Design: Andrew Oxford Costume Design: Lottie Banford Content advisory:  coarse language, adult themes, flashing lights and haze Cast: Steve the Queen – Daniel Gough Davey – Samuel French Judy – Kerith Atkinson Lee – Tayla Rankine “I don’t have a mum and I don’t have a dad. I have a Steve.” That line hangs over Steve the Queen  like a glittering disco ball. Presented by Cosmo Creative at PIP Theatre  and written by Zachary Lurje and Daniel Gough, this show is a camp comedy / family drama. Beneath the wigs, sequins and outrageous jokes sits a heartfelt story about grief, identity, and the messy nature of family. Minor spoilers ahead. The play opens with a moment that immediately tells us what kind of world we’re entering. Davey’s dad turns up to a Year 7 parents day straight from work. Except “ work ” happens to be hosting in full drag. The entrance is anything but subtle. There is attitude. There is absolutely no attempt to blend in with the other parents. And they promptly get kicked out for causing a scene. Fast forward to Davey in Grade 12 and things are a whole lot more grown-up and complicated. While the teen characters, Davey and Lee, are getting busy in bed, Steve is on stage lip syncing Whitney Houston’s Queen of the Night . Production designer Matti Crocker gives the show a vibrant playground to live in. The set presents like a collision between Steve’s stage life and his home life. A glowing catwalk juts out into the audience. A checkerboard floor gleams under the lights. There is a bed with leopard-print sheets, neon signage glowing on the backdrop, and a disco ball hanging overhead. One minute feathers are floating into the audience during Wind Beneath My Wings . The next moment you may find condoms flying your way during Respect . Lighting by Jon Whitehead leans fully into the nightclub energy with flashes of colour and sparkle, while Andrew Oxford’s sound design keeps the drag numbers punchy and theatrical. Costumes by Lottie Banford bring the glamour in full force: wigs, pearls, pumps, and sequins. Co-writer Daniel Gough plays the title character Steve, both the drag persona and the struggling father underneath it all, and commits completely to the chaos of the character. Even his smallest acting choices are hilarious. But what makes his performance work is the vulnerability sitting underneath the glitter. Daniel must switch between being sassy, outrageous, and occasionally cruel; sometimes behaving more immaturely than his own son! Underneath all the flashy bravado, you can just spot the insecurities. Being Steve the Queen is easy... But being Steve the father is much harder. Samuel French  as Davey gives the play its emotional centre. Davey is clearly exhausted from living in the shadow of his father’s larger than life personality. His line, “I am the backup dancer in the production of your life!” lands with a real sting. The confrontation scenes between Daniel and Samuel are where the play really crackles. When Davey begs Steve to drop the character and just be honest for once, the comedy falls away and suddenly everything gets real o'clock as Davey unloads years of frustration and hurt. Their stage dynamic is magnetic; full of sarcastic deflections and sharp jabs, and we see the cruel side of both father and son through these actors. Tayla Rankine is fantastic at portraying Lee, Davey’s girlfriend. Lee is proud, observant, emotionally intelligent, and in many ways she is the only character in the room capable of calmly seeing the situation for what it is. Rankine delivers several moments of brutally honest tough love that made me physically wince in my seat. The kind of lines that make the whole audience quietly go “oof.” There’s a brilliant confidence to her performance that cuts through the chaos around her. Kerith Atkinson plays Judy, Steve’s mother in law and Davey’s grandmother. She is caring but can be blunt, opinionated, and never shy about offering advice that nobody asked for. Steve and Judy’s relationship is a time bomb, with arguments escalating from passive aggressive sniping to full blown shouting matches. While Atkinson delivers strong comic timing and bite, but it was hard for me to see her as a grandma with a past of alcohol abuse (sorry!), especially since she's supposed to be around 50-60 years old with an 18-year-old grandson. The writing itself is sharp, unapologetic Aussie humour that the audience responds to instantly. Lines like “ My teenage son is having more sex than me!” and “ As punishment we are having a father/son Bette Midler marathon! ” get big laughs. But the comedy never exists in a vacuum. The jokes often slide into something darker as the play reminds us that underneath all the spectacle is a story about grief. I had the chance to briefly ask co-writer Zachary Lurje about the inspiration behind the play. He mentioned that audiences might recognise echoes of stories like The Birdcage  and Priscilla Queen of the Desert but he also drew from his own time living in the Northern Territory, where he spent time around the drag community and saw similar family dynamics firsthand. What makes Steve the Queen  so compelling is that nobody here is entirely right or entirely wrong. In Zachary Lurje and Daniel Gough’s writing, each character feels painfully human. Steve is terrified of vulnerability so he hides behind drag. Davey wants honesty but lashes out in anger. Judy weaponises her guilt. These characters refuse to communicate like reasonable adults. They deflect, joke, lash out, and avoid the truth until the tension finally boils over and words are thrown around that cannot be taken back. One line in particular lingered with me: “A normal family is the cruellest lie there is.” Steve the Queen  mixes camp spectacle with some very real emotional wounds and asks what happens when the person who commands the spotlight struggles to be present for the people who need them most. And as the glitter settles and the wigs come off, one question quietly remains: Who are we when our performance ends?

Title: L ong Gone Lonesome Cowgirls Presented By: Ad Astra Theatre Company Genre: Musical Drama / Comedy Synopsis: Long Gone Lonesome Cowgirls  is a nostalgic musical journey exploring female friendship, resilience, and independence in a chauvinistic rural Queensland setting during the 1960s. The story follows two women navigating heartbreak, loneliness, and the chaos of their lives while finding strength in each other. Though touching on themes of unhappiness and isolation, the play remains warm, humorous, and filled with country music from the golden era of the Nashville sound. Audition Date: Tuesday 10 March 2026 Audition Time: 6:00pm – 10:00pm Audition Location and Address: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Audition Requirements: Prepare one 2-minute monologue Prepare one country-style song (60–90 seconds) in the style of the show Cold readings from the script will be required Suggested musical inspiration includes artists such as Patsy Cline, Tammy Wynette, Loretta Lynn, Hank Williams, Kitty Wells, Dolly Parton, and Skeeter Davis. Audition Registration: Email creatives@adastracreativity.com  with: Recent headshot Current CV (Word or Google Doc only) The role(s) you wish to audition for Performance Dates: 11 June – 4 July 2026 Performance Times: Thursday–Saturday evenings and Saturday matinees Performance Location: Ad Astra – Pluto 210 Petrie Terrace, Brisbane Creative Team: Director: Prue Robb Production Website: https://adastracreativity.com Other information: This is a co-op production Performers receive a share of ticket sales after expenses Callbacks: Wednesday 11 March 2026, 6:00pm–10:00pm Available Roles/Character Breakdown: Vicki  — Age 20–30. A conventional, quiet, and submissive housewife who dreams of American country singers while waiting for her itinerant contractor husband to return. Rae  — Age 20–30. A brash, bold, and freedom-loving barmaid from Toowoomba who has been abandoned by her boyfriend and must learn to navigate life independently.