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Title: 9 to 5 The Musical Presented By: Beenleigh Theatre Group Genre: Musical Comedy Synopsis: Set in the late 1970s, 9 to 5 The Musical follows three very different women pushed to breaking point by their sexist, arrogant and dishonest boss, Franklin Hart. Violet is an experienced office manager repeatedly overlooked for promotion, Doralee is judged and isolated because of rumours spread by Hart, and Judy is entering the workforce after the collapse of her marriage. When a series of misunderstandings and wild fantasies spirals out of control, the women find themselves holding Hart captive and taking over the company. With Hart “otherwise engaged,” Violet, Judy and Doralee transform their workplace, introducing changes that support the people who actually keep the business running. Featuring music and lyrics by Dolly Parton, the musical combines friendship, revenge, workplace satire and empowerment with country, pop and contemporary musical theatre. Audition Information: Saturday 15 August: Dance tutorial: 9:00am–9:30am General Dance Call 1: 9:30am–10:00am General Dance Call 2: 10:00am–10:30am Advanced Dance Call: 10:30am–11:30am Sunday 16 August: Individual auditions: 9:00am–6:00pm in ten-minute appointments Callbacks, by invitation only: Wednesday 19 August from 7:00pm Audition Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Audition Self-Tape Due: Saturday 15 August 2026 at 6:00pm Video auditions are available for performers unable to attend in person. Contact info@beenleightheatregroup.com for the submission requirements. Audition Requirements: Prepare two contrasting song excerpts, each between 30 seconds and one minute: One musical theatre song in the style of the production, such as contemporary musical theatre, country, pop or rock. One song in any genre that demonstrates your individual vocal strengths and personality. Songs from 9 to 5 must not be used. Backing tracks must be pre-cut and supplied on a device suitable for a wired connection using Lightning, USB-C or auxiliary input. All auditionees must attend a general dance call. A tutorial video will be available in advance, with an optional teaching session held before the calls on 15 August. Performers auditioning for featured roles that double in the ensemble must attend the Advanced Dance Call. Those auditioning for Violet, Judy or Doralee are strongly encouraged to attend it. Prepare one of the acting sides supplied in the audition pack, choosing the character with whom you most closely align. Redirection or an additional cold reading may also be requested. Audition Registration: Book an audition appointment Audition Pack: Download the audition pack Scheduling: Performance Dates: 20 November – 5 December 2026 Performance Times: Friday 20 November: 7:30pm Sunday 22 November: 2:00pm Friday 27 November: 7:30pm Saturday 28 November: 2:00pm & 7:30pm Friday 4 December: 7:30pm Saturday 5 December: 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Rehearsal Dates: First rehearsal: Monday 24 August 2026 Bump-in: Sunday 20 September Promotional photoshoot: Monday 21 September Sitzprobe: Sunday 25 October Technical period begins: Sunday 8 November Media preview: Monday 16 November Bump-out: Sunday 6 December – compulsory Rehearsal Times: Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Sundays: 2:00pm–7:00pm Other Information: Production Website: Beenleigh Theatre Group Auditions Warnings: Sexism and workplace harassment References to infidelity and divorce Drug use Strong language and sexual references Staged intimacy Stage combat Physical restraint and kidnapping Heavy staged physical contact for the role of Franklin Hart Performer Age: 18+ This production will not accept applications from performers under the age of 18, including for the role of Josh. Creative Team: Director: Ruby Thompson Musical Director: Alex Angus Choreographer: Jackson Poole Stage Manager: Harley Roy Other information: All intimacy, combat and restraint scenes will be choreographed with performer safety and wellbeing prioritised. Auditionees are encouraged to disclose any relevant boundaries or limitations during the audition process. This is an inclusive casting process. Auditionees may apply for any role regardless of age, race, ethnicity, gender identity, cultural background or disability, except where identity is integral to the text. Successful performers must become financial members of Beenleigh Theatre Group for 2026. Membership costs $10 and must be paid before the first rehearsal. Known rehearsal and performance conflicts should be disclosed during the audition process. Available Roles/Character Breakdown: Violet Newstead Female-presenting | Playing age: 40–50 | Vocal range: F3–D5 The company’s Head Secretary and Franklin Hart’s administrative assistant. A capable single mother who is ambitious, outspoken and repeatedly overlooked despite keeping the office running. Requires strong acting and excellent comic timing. Doralee Rhodes Female-presenting | Playing age: 20–30 | Vocal range: G3–E5 A spirited and capable young employee who is unfairly judged because of her appearance and Hart’s rumours. Requires strong country/pop vocals and a convincing Southern or Texan accent. Judy Bernly Female-presenting | Playing age: 30–35 | Vocal range: Ab3–F5 The nervous new employee entering the workforce after her husband leaves her. Initially insecure and inexperienced, Judy gradually discovers independence and confidence. Requires strong contemporary vocals and good comic timing. Franklin Hart Male-presenting | Playing age: 30–50 | Vocal range: C3–Gb4 The company’s sexist, egotistical and dishonest executive. Able to perform superficial charm but generally arrogant and self-serving. Requires an outstanding comic actor with confident vocals. Includes staged combat, restraint and heavy physical contact. Roz Keith Female-presenting | Playing age: 30–45 | Vocal range: G3–C5 The office gossip and Hart’s devoted informant. She is infatuated with him and desperate for his approval. Requires an excellent character actor with a strong belt voice. Joe Male-presenting | Playing age: 25–35 | Vocal range: B2–G4 A kind and genuine young accountant who is attracted to Violet. Dwayne Male-presenting | Playing age: 25–30 | Vocal range: E2–G4 Doralee’s supportive and affectionate husband. This performer will also appear in the ensemble. Josh Male-presenting | Playing age: 15–20, cast with an actor aged 18+ Violet’s awkward teenage son. The performer will also appear in the ensemble. Missy Hart Female-presenting | Playing age: 20–35 Franklin Hart’s wife, unaware of much of her husband’s true behaviour. This performer will also appear in the ensemble. Maria Female-presenting | Playing age: 20–35 | Vocal range: F4–D5 A bright and energetic secretary in Hart’s office. This performer will also appear in the ensemble. Dick Male-presenting | Playing age: 30–40 Judy’s unfaithful soon-to-be ex-husband. He is an ordinary man who has aged less gracefully than he imagines. This performer will also appear in the ensemble. Kathy Female-presenting | Playing age: 25–40 | Vocal range: G4–D5 An office secretary with a fondness for gossip. This performer will also appear in the ensemble. Margaret Female-presenting | Playing age: 25–40 An office secretary with a tendency to drink. This performer will also appear in the ensemble. Tinsworthy Male-presenting | Playing age: 35–50 Hart’s superior and Chairman of the Board. A fundamentally decent man who may understand more about Hart than he initially reveals. This performer will also appear in the ensemble. Ensemble Any gender | Adult performers | All vocal types Approximately eight to ten strong singer-dancers who will portray office workers, police officers, hospital employees and the featured supporting roles listed above.

Title: Away Presented By: Brisbane Arts Theatre Genre: Australian Drama Synopsis: Set during the summer holidays of 1968, Away follows three very different Australian families whose lives unexpectedly intersect while travelling along the Queensland coast. Tom, a warm and intelligent school student, is facing circumstances far beyond his years, while his devoted parents, Harry and Vic, try to protect him and make the most of their time together. Meg is beginning to challenge the expectations of her controlling mother, Gwen, while her father, Jim, attempts to keep the peace. Elsewhere, school principal Roy and his wife Coral are each struggling with profound grief following a family tragedy. As their separate journeys gradually converge, moments of humour, conflict and unexpected connection allow the characters to confront loss, rediscover hope and begin healing. Michael Gow’s enduring Australian play explores family, grief, love and the transformative power of compassion. Audition Date: Sunday 2 August 2026 Audition Time: 12:00pm–4:00pm Auditions will be held in one-hour workshop sessions, with up to ten performers in each group. Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: No prepared monologue is required. Auditions will be conducted in a relaxed workshop format and will consist of cold readings from the script. The production is seeking: Collaborative storytellers and team players Performers across a broad range of ages and experience levels New community-theatre participants Performers able to commit to the rehearsal and production period Performers of all genders, abilities, backgrounds and ethnicities are encouraged to audition. Audition Registration: Register for an audition session Audition Pack: Download the audition pack Performance Dates: Thursday 24 September 2026 - Friday 2 October 2026 Performance Location: C Block AuditoriumSouth Bank TAFE, 66 Ernest Street, South Brisbane QLD Rehearsal Dates: Rehearsals commence Wednesday 4 August 2026 and continue until Thursday 17 September 2026. Headshots: Sunday 23 August 2026 Production photos: Tuesday 25 August 2026 Bump-in: Saturday 19 September 2026 Technical rehearsals: Monday 21–Wednesday 23 September 2026 Bump-out: Friday 2 October 2026 following the final performance Rehearsal Times: Wednesdays: 6:00pm–9:30pm Thursdays: 6:00pm–9:30pm Sundays: Generally 12:00pm–4:00pm Technical rehearsals: 6:00pm–late Rehearsal Location: Wednesday rehearsals:Chermside Library, 375 Hamilton Road, Chermside QLD Thursday and Sunday rehearsals: Lavalla Centre, Room 858 Fernberg Road, Paddington QLD Technical rehearsals: C Block Auditorium, South Bank TAFE, 66 Ernest Street, South Brisbane QLD Warnings: Themes of grief, terminal illness, family conflict and bereavement. Creative Team: Director: Susan O’Toole Cridland Production Website: Brisbane Arts Theatre – Away Auditions Other information: Performers of all experience levels are welcome, including first-time community-theatre participants. Cast members must be available for all technical rehearsals and performances. Successful performers must become financial members of Brisbane Arts Theatre. Membership costs $40 and is valid for 12 months. Enquiries: away26@artstheatre.com.au or (07) 3369 2344. Available Roles/Character Breakdown: Tom (Male, late teens) Warm, intelligent and compassionate. A school student confronting circumstances far beyond his years and one of the emotional centres of the play. A slight English accent is required. Meg (Female, late teens) Bright, spirited and independent. She is curious about the world and beginning to challenge her mother’s expectations. Harry (Male, 40s–60s) Tom’s father. Hard-working, practical and deeply devoted to his family. A general English accent is required. Vic (Female, 40s–60s) Tom’s mother. Kind-hearted, resilient and protective. A general English accent is required. Gwen (Female, 40s–60s) Meg’s strong-willed and status-conscious mother. Often controlling, though ultimately motivated by fear and love for her family. Jim (Male, 40s–60s) Meg’s easy-going and thoughtful father. He is frequently caught between maintaining peace and standing his ground. Coral (Female, 40s–60s) A woman struggling with grief after a family tragedy. A complex and emotionally demanding role. Roy (Male, 40s–60s) Coral’s husband and a school principal. Reserved, dignified and carrying his own emotional burden. Miss Latrobe (Female, 30s+) A dedicated drama teacher whose school production opens the play. Rick (Male, 20s–30s) A holiday-maker whose chance encounter with Coral becomes significant. Leonie (Female, 30s–50s) A resort guest who provides both humour and insight. Master of Ceremonies (Any gender) A confident, charismatic and theatrical host. Ensemble Roles The ensemble may portray campers, holiday-makers, hotel guests, school-production performers and other featured characters. These roles are suitable for first-time performers, students and community members seeking stage experience without the pressure of a major role.

Home, I’m Darling Presented by Swich Up Productions Attended: 18 July 2026 Written by: Laura Wade Directed by: Martie Blanchett Assistant Director: Simone Behrendorff Set Design: Adrian Carr Lighting: Doug Brimblecombe Sound: Brendan Dieckmann, Seven Yuenyang and Martie Blanchett Stage Manager: Pru Valentine Costumes: Simone Behrendorff and team Intimacy Coordinator: Ellen Axford Choreography: Madz O’Hare Photography: Kris Anderson and Isaac Frommelt “You are wasting your life, when you could choose not to!” In Judy’s world, every day is a matinee performance of domestic perfection. Judy (Lauren Ryan) and Johnny (Michael Civitano) are a modern married couple who have agreed to live as though it is the 1950s. Johnny goes to work while Judy cooks, cleans, mends, gardens, and runs the household like a sitcom super-wife. She abandoned her corporate career to pursue what she calls “a deep, quiet kind of happy.” From the outside, it's all twirly skirts, freshly baked treats, and jive dancing. Meanwhile, the bills are piling up and the happy housewife smile is starting to ache. Swich Up Productions sets up the retro world of Home, I’m Darling with jukeboxes, vintage posters and smartly dressed staff. This company has a keen eye for detail and knows how to draw its audience into the experience, making the venue an active part of the production rather than simply somewhere to watch it. The old Cambrian Centre in Booval is a great fit for this nostalgia-soaked play. It becomes a gingham wonderland where Judy’s version of the past comes alive. Adrian Carr's set design is also crafted with great attention to detail. It features pastel shades of yellow, pink, and mint green, complemented by a checkerboard floor, retro appliances, antique furniture, and delicate dishware. Even the fridge hums! The sourcing alone must have involved raiding every op shop, grandma’s kitchen, and vintage marketplace within driving distance. The practical details help sell the illusion, right down to the real tea, actual meals, and household props. Judy’s routines feel properly lived in as she moves through them with practiced ease, always pouring, serving, or fussing over something. Martie Blanchett’s direction folds these actions into the characterisation to keep Judy busy while she works just as hard to keep every conversation determinedly rosy whenever it threatens to become too candid. Lauren Ryan is wonderful as Judy, appearing in every scene and guiding the audience through the gradual disintegration of her carefully orchestrated life. She plays the part with a perky voice and stiff cheerfulness, like she is starring in her own episode of The Donna Reed Show. Her clothes are immaculate, her home is spotless, and every “I’m not upset!” comes through a smile clenched so tightly it practically needs WD-40 to loosen up. Lauren adjusts Judy’s behaviour around each different character: adoring wife with Johnny, proudly hospitable with Fran, defensive with her mother, and increasingly guarded when Alex begins asking the questions everyone else has been wondering. “It’s not like it’s a religious cult!” A well-placed flashback reveals that the arrangement was Judy’s idea, born from her love of a nostalgic 1950s fantasy (with the discrimination and restricted choices carefully edited out). As more details emerge, it becomes clear that she is also using that fantasy to escape modern work, uncomfortable feelings and difficult conversations. Lauren makes Judy’s growing desperation feel completely believable. Maintaining the masquerade becomes more compulsive, and every question starts to feel like an attack on the identity she has chosen. Michael Civitano gives Johnny an affable quality that suits the early sitcom styling. He plays him as a husband trying very hard to keep the peace, please his wife and hold their chosen lifestyle together, even as the pressure around money boils beneath. His blunt line, “How can you be tired? You don’t do anything,” drew an audible reaction from the audience, hitting with the sting of something blurted out in a heated argument that you immediately wish you could take back. His chemistry with Lauren makes their marriage as believable as a sitcom marriage can be, complete with paraded joy and delightful dysfunction. At the performance I attended, director Martie Blanchett stepped into the role of Sylvia (Judy’s hippie mother), covering the role usually played by Linda Shapcott. Sylvia punctures the romantic mythology of the household from the moment she arrives. She has very little patience for her daughter’s cartoon version of the past, while Judy reacts to her prodding with the defensiveness of a teenager being told she does not know everything. Blanchett’s major monologue is one of the production’s most powerful moments. Sylvia reminds Judy that the decade she adores was not a permanent swirl of pastels, patterns and domestic cuteness. Women had fewer choices, little independence and were expected to tolerate far more than Judy’s glossy version of history allows. Blanchett grounds the monologue in Sylvia’s concern for her daughter as she watches Judy willingly surrender choices that previous generations of women fought to gain. “That’s what life was like for women in the ’50s. Fear." Courtney Murrin is the master of saying a lot without uttering a word as Fran. She reacts to Judy’s performance with curiosity, concern and even a little delight at the tea, cake, gossip and marital drama unfolding around her. Fran’s relationship with Marcus offers a more modern marriage for comparison, though not necessarily a healthier one. Jamie Spence plays Marcus with the perfect level of unpleasantness - complete with roving eyes, faux charm and the self-assurance of someone who has never once questioned whether he might be the problem. Liz Ball makes a strong impression as Alex, Johnny’s assertive new boss, despite having only a handful of scenes. She walks into their house, takes in the décor, and starts asking the burning questions we have all been quietly wondering. Liz gives Alex a confident, no-nonsense presence that bounces nicely off Judy’s highly managed hospitality. Her easy rapport with Michael also makes the “work wife” tension very clear, much to Judy’s discomfort. The costume magic by Simone Behrendorff (and her fabulous team) sees Judy strut her stuff in one adorable getup after another, with the watermelon dress stealing the spotlight. Her evening cocktail gown paired with a fox fur wrap is so retro that even Alex quips, “I feel like I'm in Mad Men.” With petticoats, pantyhose, heels, pin curls, and neck scarves, Judy inhabits the woman she believes she needs to be. Madz O’Hare’s choreography lets her groove through her favourite decade with swing and jive moves. That style is no walk in the park, but the cast handles it well! Sound by Brendan Dieckmann, Seven Yuenyang and Martie Blanchett, along with Doug Brimblecombe’s lighting, maintains the inviting domestic world even as life inside it becomes less comfortable. Some bouncy tunes keep the production transitions moving, with tracks like “It’s Got to Be Perfect” and “Working My Way Back to You” offering cheeky insights into the characters' state of mind. Martie Blanchett’s direction enables their somewhat unnatural lifestyle to unfold with unexpected naturalness. The themes emerge through household routines, conversations and compromises that quickly stop seeming cute. Living without modern conveniences becomes less whimsical, frugality starts to look like deprivation, and self-sufficiency leaves Judy increasingly isolated. The play has plenty to say about the value of domestic work, but its strongest point is about choice and what happens when all that care travels in only one direction. It gives new weight to the advice in Judy’s 1949 household manual: “A good wife listens more than she speaks.” The audience at this performance was wonderfully responsive (and there was plenty to react to!). Swich Up Productions has created a funny, clever and carefully detailed production that begins with happily ever after already in place, then explores what happens when the characters can no longer perform it. It certainly sparked plenty of discussion on the drive home. For one evening, I was happy to visit Judy’s retro world. And I was equally happy to return to my own, with my twenty-first-century rights intact.

Title: Treasure Island: Young Pirates of the Caribbean Presented By: Allegory Theatre Qld Inc. Genre: Adventure / Pantomime / Musical Play Synopsis: Set sail for Skeleton Island in this adventurous adaptation of Treasure Island, filled with pirates, buried treasure, mutiny, treasure maps and pieces of eight. The story follows Jim Hawkins, an ordinary young person who is swept into an extraordinary voyage after becoming involved in the search for hidden treasure. Aboard the Hispaniola, Jim encounters a colourful crew and the treacherous Long John Silver, before being drawn into a dangerous race to reach the treasure first. The production includes musical numbers, physical storytelling and roles for both singing and non-singing performers. Audition Date: Sunday 26 July 2026 Audition Time: 11:00am – 3:00pm Auditions will be held in approximately one-hour group sessions, with no more than ten performers in each session. Audition Location and Address: Picabeen Community Centre, 22 Hoben Street, Mitchelton QLD Audition Self-Tape Due (if applicable): Video auditions must be received by the end of Sunday 26 July 2026. Audition Requirements: Provide a performance CV, if available, and a recent headshot or clear photograph. These may be brought to the audition or emailed to allegorytheatre@gmail.com. Performers wishing to be considered for a singing role should prepare up to one minute of a song with a recorded backing track on a device that can connect to a Bluetooth speaker. A short group singalong may also be included, with lyrics provided. Auditionees will learn a simple dance routine. No formal dance training is required. Wear comfortable clothing suitable for movement. Participate in cold readings from the script. Applicants may also list special skills such as juggling, acrobatics, musical instruments, mime, improvisation, comedy or dance. Audition Registration: Complete the audition registration form Performance Dates: Wednesday 30 September – Sunday 4 October 2026 Performance Times: Wednesday 30 September: 11:00am Thursday 1 October: 3:00pm Friday 2 October: 3:00pm Saturday 3 October: 11:00am and 3:00pm Sunday 4 October: 11:00am Performance Location: St Matthew’s Hall, Church Road, Mitchelton QLD Rehearsal Dates: Orientation and first script read-through: Wednesday 29 July 2026 Regular rehearsals will continue on Wednesdays and Sundays. Technical and dress rehearsals: Sunday 27 September: 9:00am–5:00pm + Monday 28 September: 2:00pm–5:00pm Rehearsal Times: Wednesdays: 6:30pm–9:30pm + Sundays: 10:00am–2:00pm Some Monday evening rehearsals or extended Sunday rehearsals may be added later if required. Wednesday hours may be adjusted for younger performers. Rehearsal Location: Picabeen Community Centre, 22 Hoben Street, Mitchelton QLD Other information: Performer Age: Ages 6 to adult Creative Team: Playwright: Kathryn Schultz Miller Production Website: https://www.katzacting.com.au/allegory-theatre All cast members must attend the technical rehearsals and every performance. Successful performers must become financial members of Allegory Theatre Qld Inc. Annual membership fees are $25 for adults, $15 for concession holders or adult students, $10 for performers under 18, or $60 for a family of two adults and two young people. Enquiries: allegorytheatre@gmail.com Available Roles/Character Breakdown: All characters may be played by performers of any gender. Some roles may be doubled. Jim Hawkins - The young central character who joins the voyage to Skeleton Island. Storytellers - Active participants who help narrate and perform the action: Black Dog Sea Legs Sam/Sarah One-Eyed Tom/Tess Hurricane Hal/Hattie Mum - Jim Hawkins’ mother. Billy Bones - A pirate. Blind Pew - A pirate. Doctor Livesey - The doctor aboard the Hispaniola. Squire Trelawney - A nobleperson involved in the treasure expedition. Captain Smollett - Captain of the Hispaniola. Hispaniola Crew / Pirates - The crew members later join the pirate mutiny: Moby Dick Crooked Arrow Tattoo Charlie/Carla Dancin’ Dan/Danielle Honest Abe/Abby - A member of the Hispaniola crew who does not join the pirates. Long John Silver - The treacherous pirate leading the race for the treasure. Ben Gunn - A marooned pirate living on the island. Residents of Skeleton Island Bimini Callaloo Junkanoo Picadillo Mango

Title: A Chorus Line Presented By: Queensland Musical Theatre Genre: Musical Synopsis: Winner of nine Tony Awards and the Pulitzer Prize for Drama, A Chorus Line is one of the most celebrated musicals of all time. Set on the bare stage of a Broadway theatre during a high-stakes audition, the story follows a group of dancers competing for a coveted place in the chorus of a Broadway musical. As the audition progresses, each performer is challenged to reveal not just their talent, but their personal journey, sharing stories of ambition, sacrifice, heartbreak and triumph. Through humour, vulnerability and unforgettable music, A Chorus Line celebrates the lives of the performers who dedicate everything to the stage. Audition Dates: Saturday 8 August & Sunday 9 August 2026 Dance Audition (Saturday 8 August): Group 1: 9:00am–10:30am (General Dance) Group 2: 10:45am–12:00pm (General Dance) Advanced Dance Call: 12:15pm–1:45pm Singing & Acting Auditions: Saturday 8 August: 3:00pm–5:30pm Sunday 9 August: 10:00am–4:00pm Audition Location and Address: St Peter Chanel School Hall, 41 Chaprowe Road, The Gap QLD Audition Self-Tape Due (if applicable): Video auditions are accepted for the initial audition only if you are unable to attend in person. Applicants invited to callbacks must attend in person. Audition Requirements: Register online before auditioning. Attend the compulsory general dance audition. Those auditioning for Cassie, Mike, Richie, Larry, Val, Judy, Connie, Sheila, Maggie or Bebe must also attend the Advanced Dance Call. Prepare two contrasting musical theatre song excerpts (approximately 32 bars/1 minute each). Only one selection may be from A Chorus Line. Bring backing tracks or sheet music (with marked cuts) if using the accompanist. No a cappella auditions. Participate in a cold reading from the script. Wear comfortable dance clothing and appropriate dance shoes. Audition Registration: https://form.jotform.com/261861647979881 Audition Pack: https://static1.squarespace.com/static/5b5d65a3e74940a00d46abcf/t/6a59f8a462e07b7798369e67/1784281252928/QMT-A-Chorus-Line-Audition-Package.pdf Performance Dates: 20–29 November 2026 Performance Location: Twelfth Night Theatre, 4 Cintra Road, Bowen Hills QLD Rehearsal Dates: Commencing Sunday 16 August 2026 Additional intensive rehearsals include: Sunday 1 November (Compulsory Sitzprobe) Additional full Sunday rehearsal in October (date TBA) Technical rehearsals, dress rehearsals, bump in and bump out (compulsory) Rehearsal Times: Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Sundays: 1:00pm–5:00pm (some Sundays may commence from 11:00am) Other Information: Performer Age: 16+ Creative Team: Director: James Rogers Musical Director: Julie Whiting Choreographers: Mike Lapot & Holly Leeson Production Website: https://www.queenslandmusicaltheatre.com/a-chorus-line-auditions Callbacks (if required) will be held on Tuesday 11 August from 7:00pm (by invitation only). Strong dance ability is required for most principal roles. All known rehearsal conflicts must be declared at the time of audition. Successful cast members must become financial members of Queensland Musical Theatre. Successful cast members are required to pay a production fee. Adult cast members must hold (or be willing to apply for) a Blue Card or exemption. Cast members are expected to assist with publicity and promotion of the production. Available Roles/Character Breakdown: Zach (Playing Age: 30–50) A successful Broadway director and choreographer running the audition. Demanding, emotionally guarded and authoritative. Non-singing. Larry (Playing Age: 25–40) Zach's assistant and dance captain. An exceptional dancer with confidence, authority and excellent technique. Non-singing. Cassie Ferguson (Playing Age: 25–40) Vocal Range: A3–D#5 A gifted dancer and former star struggling to regain her place in the chorus. Passionate, vulnerable and emotionally complex. Sheila Bryant (Playing Age: 30–40) Vocal Range: E3–Bb5 The oldest and most experienced woman in the chorus. Glamorous, witty and cynical, masking childhood pain with confidence and humour. Diana Morales (Playing Age: 20–35) Vocal Range: G3–F#5 Warm, intelligent and grounded. A strong singer and storyteller who naturally becomes an emotional leader. Valerie "Val" Clark (Playing Age: 20–35) Vocal Range: G#3–C#5 Confident, funny and ambitious. Boldly practical about the realities of show business. Maggie Winslow (Playing Age: 20–30) Vocal Range: A3–A5 Gentle and vulnerable. Found comfort in dance after an emotionally difficult childhood. Connie Wong (Playing Age: 25–35) Vocal Range: C4–D5 Small in stature but full of confidence and humour. Self-aware and determined. Bebe Benzenheimer (Playing Age: 20–28) Vocal Range: F#3–C#5 Sensitive, insecure and earnest. Wants desperately to prove she belongs. Judy Turner (Playing Age: 20–35) Vocal Range: G#3–E5 Chatty, funny and delightfully awkward. A strong dancer with excellent comic timing. Kristine Urich-DeLuca (Playing Age: 20–30) Vocal Range: Cb4–Eb5 Sweet, anxious and unintentionally hilarious. A capable dancer who simply cannot sing in tune. Mike Costa (Playing Age: 20–30) Vocal Range: F3–G#4 An energetic New Jersey dancer with exceptional tap skills, charm and confidence. Paul San Marco (Playing Age: 24–32) Vocal Range: C#3–F#4 One of the show's most emotionally demanding roles. Quiet, vulnerable and deeply honest. Don Kerr (Playing Age: 25–40) Vocal Range: D3–F#4 A mature, dependable and grounded performer with a family. Calm and practical. Greg Gardner (Playing Age: 20–35) Vocal Range: D3–F4 Sophisticated, stylish and dryly humorous. Bobby Mills III (Playing Age: 20–35) Vocal Range: Eb3–C4 A natural comedian who hides vulnerability behind humour and theatricality. Richie Walters (Playing Age: 20–35) Vocal Range: D3–E5 Athletic, charismatic and full of infectious enthusiasm. Strong singer and dancer. Al DeLuca (Playing Age: 25–35) Vocal Range: E3–G#4 Kristine's devoted husband. Patient, supportive and grounded. Mark Anthony (Playing Age: 18–23) Vocal Range: E3–G#4 Young, eager and optimistic. Innocent and unintentionally funny. Additional Opening Audition Dancers (Playing Age: 18–35) Featured in the opening audition sequence before being cut. May also perform in featured dance moments, the finale, and cover principal roles.

Title: Home, I’m Darling Presented By: Toowoomba Repertory Theatre Society Genre: Comedy / Drama Synopsis: Judy appears to be the perfect 1950s housewife. She spends her days keeping an immaculate home, preparing devilled eggs, mixing Screwdrivers and supporting her husband, Johnny. Together, they have created a carefully styled pastel world built around traditional domestic roles. The problem is that it is not the 1950s—it is the present day. As financial pressure, career changes and differing expectations begin to intrude, Judy and Johnny’s idealised lifestyle starts to unravel. Laura Wade’s Olivier Award-winning play examines nostalgia, marriage, gender roles and the temptation to retreat from the complications of modern life. Audition Date: Saturday 1 August 2026 Audition Time: 2:00pm Audition Location and Address: Toowoomba Repertory Theatre, 94 Margaret Street, Toowoomba QLD Some parking is available behind the theatre, accessed via Austral Lane. Audition Self-Tape Due (if applicable): Alternative arrangements may be possible for performers unable to attend. Contact director Mark Phythian on 0416 359 340 or mphythian1@gmail.com Audition Requirements: Auditionees should: Read and practise the relevant excerpts from the play. Perform the supplied audition scenes at the audition. Demonstrate clear diction, strong vocal projection, reliability and the ability to learn and develop a role. Bring a completed personal-information form if new to Toowoomba Repertory Theatre. Disclose any commitments that may affect the rehearsal schedule. The audition pieces do not need to be memorised. Printed copies will be provided, though performers may bring their own marked-up copies. An additional audition piece may also be presented if desired. English accents will be required in the production, but auditionees are not required to use an accent at the audition. Audition Registration: Attend the audition session or contact Mark Phythian for further information. Audition Pack: Download the audition pack Additional character-specific audition excerpts are available through the Toowoomba Repertory Theatre audition page. Performance Dates: 3–14 November 2026 Performance Location:Toowoomba Repertory Theatre, 94 Margaret Street, Toowoomba QLD Rehearsal Dates: Rehearsals are expected to begin during the second week of August 2026. Rehearsal Times: Likely three rehearsals per week. The final schedule will be arranged around cast availability. Rehearsal Location: Toowoomba Repertory Theatre, 94 Margaret Street, Toowoomba QLD Performer Age: Adult performers, with playing ages ranging from approximately 25–70. Production Website: Toowoomba Repertory Theatre Auditions Other information: Backstage opportunities may also be available, including stage crew, prompting, lighting and sound operation. No previous backstage experience is required. Enquiries: Mark Phythian on 0416 359 340 or mphythian1@gmail.com Available Roles/Character Breakdown: Judy (Playing age: 30–45) The central character and model 1950s housewife. Judy maintains an immaculate home and takes pride in supporting Johnny, but her dedication to their chosen lifestyle increasingly conflicts with the realities of their relationship and finances. Johnny (Playing age: 30–45) Judy’s husband, who works as an estate agent. Optimistic about his career and supportive of Judy, he values their marriage but becomes increasingly aware of the compromises and pressures created by their lifestyle. Fran (Playing age: 30–45) A caring friend of Judy who works as a stylist for films and commercials. She shares Judy’s enthusiasm for 1950s music, clothing and jive dancing. Marcus (Playing age: 35–50) Fran’s husband and a business owner. He can be dominating and irritating, is less invested in nostalgia and considers himself more realistic about the modern world. He also enjoys dancing. Sylvia (Playing age: 60–70) Judy’s feminist mother. Practical and direct, she is confused and frustrated by her daughter’s choices and understands the less romantic realities of the era Judy idealises. Alex (Playing age: 25–35) Johnny’s new female boss at the real-estate agency. A confident, no-nonsense professional with strong interpersonal skills who is keen to make an impact.

Title: Picnic at Hanging Rock Presented By: Act1 Theatre Genre: Drama / Mystery Synopsis: Based on Joan Lindsay's iconic Australian novel and adapted for the stage by Tom Wright, Picnic at Hanging Rock tells the haunting story of a group of schoolgirls and their teacher who mysteriously disappear during a Valentine's Day picnic at Hanging Rock in 1900. As those left behind search for answers, the mystery deepens, blurring the lines between reality, memory and myth in one of Australia's most enduring theatrical works. Audition Date: Saturday 1 August 2026 Audition Time: 11:00am Audition Location and Address: Act1 Theatre (Old Shire Hall), 238 Gympie Road, Strathpine QLD 4500 Audition Requirements: Prepare and perform a monologue that showcases your characterisation skills. Participate in cold readings from sections of the script. Audition Registration: Contact the production team directly for audition enquiries. Performance Dates: 2 - 18 October, 2026 Performance Location: Act1 Theatre (Old Shire Hall), 238 Gympie Road, Strathpine QLD 4500 Production Website: https://www.act1theatre.com.au/auditions Other information: This is a community theatre, non-paid production created by volunteers passionate about producing theatre of a high standard. The production is seeking performers who can: Play multiple characters with confidence and versatility. Deliver substantial monologues with conviction. Create distinct and believable characters using voice and physicality. Work collaboratively as part of a close ensemble. Commit fully to the rehearsal process. For further information contact: Michelle Whitmore (Director): 0412 395 800 Deb Hossack (Production Manager): 0431 843 887 Available Roles/Character Breakdown: The production is seeking five talented female performers to portray multiple characters throughout the play.

Jagged Little Pill Presented by NAPA Ensemble at the National Academy of Performing Arts Director, Set Design, Lighting Design: Hunter Wall Musical Director: Laila Cheqer de Souza Vocal Director: Jonathan Whitlow Choreographer: Cooper Swain Assistant Choreographer and Costumes: Kim Reynolds Sound Design: John Taylor Photography: David Reynolds Jagged Little Pill contains strong themes and depictions relating to sexual assault, substance addiction, overdose and mental distress. Slight spoilers follow. “I’m sane, but I’m overwhelmed. I’m lost, but I’m hopeful, baby.” There it is. The anthem that speaks for an entire generation of people who are technically functioning and outwardly smiling, but secretly hanging on by a thread. It also speaks for every character in Jagged Little Pill. Inspired by Alanis Morissette’s landmark 1995 album, with a Tony Award-winning book by Diablo Cody, Jagged Little Pill follows the Healy family: Mary Jane, a suburban super-mum hooked on painkillers; her emotionally absent husband, Steve; their golden-child son, Nick, buckling beneath the pressure to be perfect; and their adopted daughter, Frankie, refusing to play the role she's been cast in and fighting to be heard. Behind their annual Christmas letter sits a marriage stripped of intimacy, a fractured family, and a community more concerned with preserving appearances than confronting harm. As the overture layers Alanis’ music and lyrics, the NAPA Ensemble cast emerges in a blaze of distressed denim and defiance, and the chills hit me instantly. Elevated above them, the band plays with the passion of an arena concert. This is alt-rock and theatre colliding at full throttle! You will find that the storyline takes on a lot: queer identity, gender fluidity, systemic racism within interracial adoption, dysfunctional marriage, sexual assault and drug addiction. In less capable hands, it could simply become a checklist of social issues. But here, they have assembled the perfect cast to depict the individuals behind these issues. Caroline Taylor gives a formidable performance as Mary Jane, or MJ (get it?), a troubled mother who elicits both empathy and frustration. At first, she’s almost comically recognisable in her activewear, puffer jacket, and forced smile. Caroline makes the audience privy to the desperation that MJ keeps concealed from her husband, children and friends. It lives in her eyes, in the way she carries herself and in her frantic need to control everyone else because she cannot control herself. “Smiling” is one of the production’s earliest triumphs (and has stayed in my mind ever since). MJ’s day unfolds in reverse, retracing her steps from the supermarket to the dealer, the pharmacist and the yoga class before returning to the moment she realises she’s run out of pills. This “anatomy of my crash” reveals the exhausting momentum behind her mantra: keep on smiling, keep on moving, can’t stand still. It plays like a moody ’90s music video, with the ensemble’s choral backing swelling beautifully around Caroline’s powerful voice. She’s even more devastating in “Forgiven”, as MJ enters a church searching for relief and instead confronts all the skeletons in her closet. Caroline lifts the roof vocally, but it’s the fury beneath the prayer that makes the number so gripping. As MJ’s carefully buried trauma rises to the surface, I found myself getting misty-eyed (and my notes become progressively less legible from here). Samantha Price shines as Frankie, a fiercely principled and impulsive teenager devoted to her causes, yet somewhat careless with Jo’s heart. “All I Really Want” immediately dives into the family conflict, fuelled by years of misalignment. Her Act Two explosion in “Unprodigal Daughter” is astonishing. As her frustration finally boils over, Samantha channels every ounce of Frankie’s angst and determination into the performance while the ensemble surges around her. “Ironic” is reworked as a school writing assignment before giving way to a powerhouse duet between Frankie and Phoenix. Flynn Anderson gives Phoenix an enigmatic charm: he listens, encourages and makes Frankie feel seen in a way she rarely is at home. Yet his own family responsibilities are never too far from view. Shilo Kwocksun gives Jo a dry humour that doubles as a defence mechanism, but their pain still slips through the cracks. Frankie is both Jo’s refuge and their greatest risk. When “You Oughta Know” arrives, all that restraint finally snaps. Shilo takes complete ownership of Morissette’s most famous song. With her killer voice, mounting rage, the band and the full force of the ensemble choreography, the result is absolutely massive. It’s the sound of humiliation and grief growing too large to contain. Every sensible theatre-going instinct told me to remain seated, but in my head, I was in the mosh pit! “Hand in My Pocket”, led by Shilo, opens into some especially satisfying group harmonies, guided by vocal director Jonathan Whitlow. Later, “That I Would Be Good” unites Frankie, Jo and Phoenix in a stunning three-part vocal arrangement, with their voices blending into truly breathtaking harmonies. By that point, I was fully emotionally invested. I had stopped taking notes quite so neatly and started writing things like “WHYYY” in the margins. “If you’re flawless, then you’ll win my love.” Greyson Vaughn brings a quieter tension to Nick, carrying much of the character’s story in his physicality: hunched shoulders, a body folded inward and a face contorted as though the weight of expectation is physically pressing him down. When MJ tells him, “Sometimes I think you’re the only thing I’ve done right,” the apparent compliment lands like another responsibility he cannot afford to fail. Greyson’s solo “Perfect” gives voice to a boy who has learned that love is conditional upon achievement. Later, Greyson and Caroline meet in a series of brilliantly raw confrontations as Nick is forced to face his own complicity. “Tell me when I’m going to feel normal again.” Angelique Giuffre gives Bella an intensity that cuts through the production whenever she appears. Bella is mocked, doubted and reduced to an accusation, but Angelique keeps reclaiming her as a person. Her featured moments are vocally charged, with anger audible in the tremor of her voice. “Predator” is particularly harrowing. The choreography uses bedsheets, lifts and fractured movement to revisit the past without spelling it out too literally. Around Angelique, the lighting and shifting white flats create a nightmarish world, while an eerie operatic soprano line cuts through from above. Angelique and Caroline both give the material the weight and care it demands. Jonathan Whitlow lets Steve’s emotional distance slowly crack open. The split staging of “So Unsexy” keeps their disconnection visually alive, while “Mary Jane” beautifully captures the grief of a husband realising how much the person beside him has concealed. In the marriage counselling scenes, Jonathan and Caroline capture how awkward and realistic it is when two people who have spent years dodging difficult conversations finally try to talk. “Not the Doctor” refuses the fantasy that one session can repair years of avoidance, but it allows them to begin speaking honestly. “Head over Feet” juxtaposes Frankie and Phoenix’s new connection with Steve and MJ’s faltering marriage, creating an epic four-part number that places two relationships at very different stages side by side. Hunter Wall directs with urgency. Nothing remains still for long: scenes bleed into songs, furniture shifts in plain sight and the ensemble circles the principals like persistent thoughts. That motion is central to Cooper Swain’s choreography. The dancers don’t simply appear for the musical numbers and disappear when the dialogue returns; they embody the urges, shame, temptation, memory and panic the characters cannot express aloud. The style is contemporary, muscular and appropriately jagged. Sharp angles give way to suspended tableaux as bodies climb, collapse and catch one another. The choreography demands enormous strength, precision and endurance. Somehow, they can all sing while doing it too! Hunter Wall’s set uses tall moveable flats to shape the space, support fluid transitions and create moments of theatrical magic as they conceal and reveal bodies. The raised stage offers strong sightlines from any seat. Plus, a full swing set becomes a playground, meeting place and structure to dangle from as relationships grow increasingly precarious. Hunter’s lighting guides the eye cleanly through the busy physical world, while an LED outline of a house frames the family at the centre of it all. Under Laila Cheqer de Souza’s musical direction, the band drives the production with the force of a live rock concert. John Taylor’s sound design ensures the microphones remain perfectly clear against that power (By the way, it gets LOUD). Kim Reynolds’ costumes and hair design draw from grunge, punk and rock without trapping the show in one era. The ’90s influence is clear, but this remains a modern world of smartphones, screenshots and viral judgement. The ensemble is essential to this world. At times, they are classmates, parents or protesters; elsewhere, they become a collective conscience, a physical manifestation of emotion or a swarm of voices pressing in on a character. I cannot name every ensemble member individually, but please know I saw you, applauded you and spent several numbers concerned about your necks (you were really throwing those things around!). Elysium Hipwood’s dance solo during “Uninvited” definitely deserves a shoutout, giving physical form to MJ’s collapse as the production grows heavier and louder around them both. “You can’t undo what’s already been done.” True, but the musical still asks what we do next. The rally sequence in “No” is the emotional peak. Its longer refrain asks the question much more directly: “What part of NO do you not understand?” Bella’s private trauma becomes public resistance. The voices build and the anger is no longer isolated inside one person. Everyone moves downstage, right into our faces, removing any comfortable distance between the audience and what is being said. I'm not ashamed to say that it had me in tears, along with what appeared to be nearly every other woman in the audience. As the show moves towards “You Learn”, it offers bittersweet optimism rather than miraculous recovery. Relationships are not restored to their original forms; they are rebuilt with greater honesty, understanding and connection. Repeated hand gestures resembling signed language accompany the finale, giving the song a communal tenderness as though each lesson is being passed from one person to another. Jagged Little Pill is a jukebox musical, yet it’s not a catalogue of Alanis Morissette hits strung between convenient plot points. The album was released on 13 June 1995, the same year I was born (so naturally, I am claiming a personal connection). I did not experience it as the cultural earthquake it was for an earlier generation, but its impact has travelled. The songs belong to these characters because Morissette’s writing already gives voice to everything they are struggling to say. There are many more songs and snippets I have left unmentioned. You don't need to arrive as an Alanis Morissette fan... give this cast a couple of hours and they will take care of that. By the final bows, I felt wrung out, fired up, and deeply grateful to have been in the room. I certainly walked out ready to scream-sing the entire album on the drive home. This is bold, confronting and beautifully controlled work from a cast with extraordinary potential. As my first NAPA production, it exceeded every expectation I had. I would see it again in a heartbeat, and frankly, every performance deserves a full house. For all its anger and noise, Jagged Little Pill lands on an obvious truth: it does not promise that everything can be fixed. It simply asks us to stop pretending nothing is wrong.

Title: Breath of Spring Presented By: Growl Theatre Genre: Comedy Synopsis: Set in London in the late 1950s, Breath of Spring is a delightful British comedy of manners with a mischievous twist. Dame Beatrice Appleby is a generous woman whose dwindling finances have forced her to take in a colourful collection of lodgers. When her maid Lily presents her with a luxurious mink stole as a thank-you gift, Beatrice suspects it has been stolen from a neighbour. Horrified but intrigued, Beatrice and her eccentric household devise a plan to secretly return it. After their first mission proves unexpectedly successful, the group decides to continue their Robin Hood-style exploits, anonymously stealing and returning fur garments while supporting worthy causes. As the schemes become increasingly elaborate, laughter, mistaken identities and unexpected camaraderie abound—until Scotland Yard begins to investigate. Audition Date: Saturday 1 August 2026 Audition Time: 1:30pm Audition Location and Address: Windsor School of Arts Hall, 381 Lutwyche Road, Windsor QLD 4030 Audition Requirements: Complete the audition registration form. Email a headshot and acting CV to production@growltheatre.org.au. Prepare a comic audition piece (maximum two minutes). Participate in cold readings from the script. Callbacks (if required) will be held Sunday 2 August at 6:30pm. Audition Registration: https://docs.google.com/forms/d/e/1FAIpQLScfLu6AD7SIJzuxVIQzZaubMwNpwGiy5CtPx3AH5xx04TZ9dA/viewform?usp=send_form Audition Pack: https://growltheatre.org.au/wp-content/uploads/2026/06/Audition-Notice-Breath-of-Spring.pdf Performance Dates: 6–15 November 2026 Performance Times: Friday 6 November – 7:30pm Saturday 7 November – 2:00pm & 7:30pm Sunday 8 November – 2:00pm Friday 13 November – 7:30pm Saturday 14 November – 2:00pm & 7:30pm Sunday 15 November – 2:00pm Performance Location: Windsor School of Arts Hall, 381 Lutwyche Road, Windsor QLD 4030 Rehearsal Dates: Read-through & Costume Fittings: Monday 24 August Thursday 27 August Rehearsals commence Sunday 30 August and continue through 5 November 2026. Critical rehearsals: 25 October – 5 November 2026 Bump Out: Sunday 22 November (10:00am) Rehearsal Times: Mondays & Thursdays: 6:30pm–9:30pm Sundays: 1:30pm–5:00pm Warnings: This production requires cast members to handle and wear real fur garments as they are central to the plot. English accents are required for all characters. Cast members should be available for all performances and critical rehearsals. Successful cast members will need to supply some personal costume items (e.g. socks, stockings, gloves) and basic stage makeup. Performer Age: Adults 18+ Creative Team: Director – Dale Murison Production Website: https://growltheatre.org.au/2026-season-breath-of-spring/ Other information: Cast diversity is encouraged while remaining true to the period and setting. Police roles appear only in the final scene and will likely double as Stage Manager/Assistant Stage Manager. Successful cast members must become financial members of Growl Theatre ($30 annual membership for 2026). If you have rehearsal conflicts, these should be disclosed during registration. Available Roles/Character Breakdown: Dame Beatrice Appleby ("Bea") (Playing Age: 60s–70s) A lively, eccentric and generous woman with a strong sense of social justice. Despite financial struggles, she remains optimistic and becomes the unlikely leader of the group's criminal escapades. Alice, Lady Miller (Playing Age: 60s–70s) Beatrice's elegant and upper-class friend. Stylish, sociable and quietly flirtatious despite her modest financial circumstances. Brigadier Albert Rayne ("Bertie") (Playing Age: 60s–70s) A retired military officer and one of Beatrice's lodgers. Organised, disciplined and determined to approach every scheme with military precision. Miss Nanette Parry ("Nan") (Playing Age: 40s–50s) A practical, cheerful lodger and elocution teacher with a commanding voice and talent for accents. Often the voice of reason amongst the chaos. Lily Thompson (Playing Age: 30s) Beatrice's maid. Streetwise, witty and reformed, with a mischievous streak and a slight Cockney accent. Miss Elizabeth Hatfield ("Hattie") (Playing Age: 40s–50s) A nervous and delicate lodger whose anxious disposition provides plenty of comic contrast. Detective Sergeant Pape (30+) A Scotland Yard detective who appears during the final scene. Police Constable Kemp (Any adult age) A police officer appearing in the final scene. Likely to double as Stage Manager or Assistant Stage Manager.

Title: Nerdy Prudes Must Die Presented By: Hanson Creative Genre: Musical Comedy / Teen Slasher / Horror Synopsis: At Hatchetfield High, a group of social outcasts unwittingly completes an ancient ritual while attempting to frighten the school’s arrogant star quarterback, Max Jägerman. When their prank ends in Max’s death, he returns as a powerful supernatural spirit determined to punish every nerd who ever crossed him. Stephanie Lauter, Grace Chasity, Peter Spankoffski and their fellow geeks must confront the murderous bully while uncovering the dark history beneath their town. From the creators of The Guy Who Didn’t Like Musicals, Nerdy Prudes Must Die combines horror, high-school comedy and contemporary musical theatre in a bloody and irreverent supernatural slasher. Audition Date: Thursday 30 July 2026 Friday 31 July 2026 Callbacks: Sunday 2 August 2026 Audition Time: Individual auditions: 15-minute booked sessions Compulsory group dance call: Thursday 30 July, 5:00pm–6:00pm Audition Location and Address: Backbone, 28 Tallowwood Street, Seven Hills QLD Audition Requirements: Prepare two contrasting songs of up to one minute each. At least one must be a musical theatre song, and one selection should demonstrate comedic ability. Contemporary or modern material is preferred. Auditionees must also: Prepare one scene from the audition pack; it does not need to correspond with the role being sought. Participate in cold reads on the day. Attend the compulsory group dance call. Bring a headshot and CV. Bring backing tracks, as no pianist will be provided. Wear comfortable clothing and appropriate dance shoes for the dance call. Audition Registration: Audition applications close Sunday 26 July 2026 at 11:59pm. Book a 15-minute audition through the registration link contained in the audition pack. Audition Pack: Download the audition brief Performance Dates: Thursday 5 November 2026 Friday 6 November 2026 Saturday 7 November 2026 Rehearsal Dates: Table read: Thursday 6 August 2026 Media call: Friday 7 August 2026 Regular rehearsals: 13 August–29 October 2026 Sitzprobe: Sunday 11 October 2026 Bump-in and dress run: Wednesday 4 November 2026 Rehearsal Times: Thursdays and Fridays: 5:00pm–9:00pm Warnings: Horror themes, murder, bullying, supernatural violence, strong language and staged intimacy. Some roles may require intimacy between performers. Parts of the audition process may be filmed for casting, marketing or promotional purposes. Performer Age: Adult performers 18+ Creative Team: Producer: Emma Hanson Director: Tayla Simpson Musical Director: Patrick Bischoff Choreographer: Savannah Stern Stage Manager: Lucy Wilding Production Website: Hanson Creative Other information: This is a non-union production. All cast members will receive a flat payment of $200. The production welcomes performers of varied backgrounds, identities, body types, abilities and experiences. All known rehearsal and performance conflicts must be disclosed in the audition application. Cast members are expected to be nearly off-book by October. Available Roles/Character Breakdown: Max Jägerman (male-presenting, tenor, C3–C5 belt) The arrogant star quarterback and school bully who rules Hatchetfield High. After dying during a prank, he returns as a powerful supernatural spirit determined to murder the town’s nerds. Requires commanding presence, physicality and dark comedy. May require intimacy with Grace. Grace Chasity / Drama Student (female-presenting, mezzo/alto, G3–F5) A seemingly pious, rule-following student who helps devise the prank against Max. Beneath her innocent exterior is a darker, ruthless and increasingly unpredictable personality. May require intimacy with Max. Stephanie Lauter / Caitlyn (female-presenting, mezzo/soprano, G3–A5) The rebellious, cynical and ambitious daughter of Hatchetfield’s mayor. Popular among her classmates but increasingly drawn into the group of outcasts. May require intimacy with Peter. Peter Spankoffski / Drama Student / Dan Reynolds (male-presenting, tenor, C3–C5) An awkward and anxious high-school outcast who becomes central to the effort to protect his friends. Earnest, intelligent and emotionally vulnerable. May require intimacy with Stephanie. Richie Lipschitz / Boy Jerry / Trevor / Paul Matthews / Wiggly (male-presenting, baritenor, C3–C5 belt) An insecure, anxious and endearing nerd who is terrified of Max but forced to confront the supernatural danger. Requires strong character versatility across several roles. Ruth Fleming / Donna Daggit / Emma Perkins / Blinky / Brooke (female-presenting, mezzo, G3–G5 optional) A quirky, outspoken and unapologetic outsider involved in the prank. The performer also portrays several contrasting supporting characters. Karen Chasity / Miss Mulberry / Reese / Miss Tessburger / Stacy / Nibbly / Girl Jerry (female-presenting, soprano, C4–A5) Grace’s mother and a range of distinctive Hatchetfield characters. Requires excellent comic versatility and the ability to create multiple clear personalities. Mark Chasity / Officer Bailey / Kurt Clauger / Tinky / News Announcer (male-presenting, baritenor, A2–A4) Grace’s father, a local real-estate agent, alongside several adults, authority figures and supernatural characters. Requires strong character transformation. Solomon Lauter / Hatchetfield Cop / Jason Jepson / Pokey (male-presenting, baritone, A2–A4) The stressed mayor of Hatchetfield and Stephanie’s father. He knows more than most about the town’s sinister history. Also portrays several supporting characters. Detective Shapiro / Brenda / PJ / Reporter (female-presenting, soprano, C4–A5) The lead investigator examining Hatchetfield’s increasingly strange events. Also performs several featured characters within the larger musical numbers.

Title: Sleeping Beauty Presented By: Brisbane City Youth Ballet Genre: Ballet / Youth Dance Production Synopsis: Brisbane City Youth Ballet’s 2027 Summer Season will bring the classic fairytale Sleeping Beauty to the stage. The production will feature young dancers across Petite, Junior and Main Company levels, offering participants the opportunity to rehearse and perform within a structured youth ballet company environment. Audition Date: Sunday 2 August 2026 Audition Location and Address: BCYB Studios, Millway Street, Kedron Audition Self-Tape Due (if applicable): Wednesday 29 July 2026 at 9:00am Audition Requirements: Auditions will be conducted as ballet classes. Dancers unable to attend in person may submit a video link, with requirements provided after registration. Audition Registration: Register for the 2027 Summer Season auditions Performance Dates: Tuesday 19 January 2027 - HOTA, Gold Coast Friday 21 January 2027 - Conservatorium Theatre, South Bank, Brisbane Saturday 23 January 2027 - Conservatorium Theatre, South Bank, Brisbane Rehearsal Dates: Main Company: 13–23 January 2027 Junior Company: 14–23 January 2027 Petite Company: 15–23 January 2027 Rehearsal Location: BCYB Studios, Millway Street, Kedron Performer Age: Dancers aged 7+ Production Website: Brisbane City Youth Ballet Other information: Audition fee: Free Main Company fee: $1,500 Junior Company fee: $1,200 Petite Company fee: $880 A non-refundable 50% deposit is due by 14 August 2026. The remaining non-refundable 50% is due by 14 September 2026. A compulsory media fee of $220 per family and compulsory uniform costs are due by 26 October 2026. Additional costs may include shoes, undergarments, makeup, tickets, programs and merchandise.

Title: Matilda The Musical Presented By: ROCKIT Productions Genre:Musical Theatre / Youth Production Program Synopsis: Inspired by Roald Dahl’s beloved story, Matilda The Musical follows Matilda Wormwood, an extraordinary young girl with a brilliant mind, a vivid imagination and the courage to stand up against injustice. Misunderstood by her neglectful parents and tormented by the terrifying headmistress Miss Trunchbull, Matilda finds friendship at school and forms a special bond with her kind teacher, Miss Honey. As Matilda begins to recognise her own remarkable abilities, she discovers that even the smallest person can challenge cruelty, rewrite their story and make a meaningful difference. Featuring music and lyrics by Tim Minchin, Matilda combines sharp comedy, energetic dance numbers and emotional storytelling in a celebration of imagination, resilience and kindness. Audition Date: Sunday 26 July 2026 Audition Time: Auditions: 10:00am–3:00pm, Callbacks: 3:30pm–6:30pm Audition Location and Address: ROCKIT Productions, 36 Old Cleveland Road, Capalaba QLD 4157 Audition Requirements: Auditions will be conducted in small, workshop-style groups and will assess singing, acting, dancing and suitability for the available roles. Grade 9 students must also enrol in one weekly technical dance class, such as Intro to Ballet, Intro to Jazz, or a streamed jazz or ballet class. Auditionees will be allocated a 90-minute small-group session. Not all auditionees will be required at callbacks. Audition Registration: Enrol in the ROCKIT Intermediate Musical Theatre Program Performance Dates: Saturday 28 November - Sunday 29 November 2026 Rehearsal Dates: Weekly classes commence Friday 17 July and run across Terms 3 and 4. Full-day rehearsals:Saturday 1 August, Saturday 22 August, Sunday 18 October Extended rehearsals: Friday 6 November, Friday 13 November, Friday 20 November, Friday 27 November Technical rehearsals: Saturday 21 November, Sunday 22 November Rehearsal Times: Weekly Fridays: 4:00pm–6:00pm, Extended rehearsals: 4:00pm–7:30pm Rehearsal Location: ROCKIT Productions, 36 Old Cleveland Road, Capalaba QLD 4157 Warnings: The musical contains bullying, neglectful parenting, corporal punishment, intimidation and themes of child mistreatment, presented within a comedic and fantastical theatrical style. Performer Age: Students in Grades 7–9 Production Website: ROCKIT Intermediate Musical Theatre Program Other information: This production forms part of ROCKIT’s Intermediate Performance Program. Costume hire costs $42 per term, totalling $84. Students may also need to provide basic costume items, undergarments and footwear. Payment plans and multi-class discounts are available. Enquiries: hello@rockitproductions.com.au or 0435 115 339.