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Well-Behaved Women Presented by Footlights Theatrical Directed by: Roslyn Johnson Musical Director: Nate Stevenson Vocal Director: Rhea Basha Photography: Lou Thompson, Deb Mayes “Well who wants to be the norm? Not me.” History has a funny habit of remembering the men first. But now, the women grab the microphone, kick the door open, and remind us that history was not made by women who sat quietly in the corner waiting for permission. Presented by Footlights Theatrical, Well-Behaved Women is a contemporary song cycle celebrating the women who refused to stay small, stay silent, or behave as expected. It has a strong “herstory” energy, with a structure that feels a little like Six, in the sense that it uses original and modern musical styles to spotlight women from history. But rather than following one linear storyline, the production moves through a series of musical portraits, each one giving voice to a different woman, moment, and perspective. The show celebrates warriors, queens, survivors, artists, athletes, writers, mothers, wives, activists, and politicians. There are famous names, lesser-explored tales, and some unexpected angles along the way. This eclectic scope keeps the format engaging, especially as the production moves between humour, rage, celebration, reflection, and full-throttle “absolutely not sir” energy. The large cast never feels decorative or lost in the crowd, with each performer finding a clear angle on their featured woman. Footlights draws together plenty of familiar Brisbane theatre faces, varied in voice, age, and energy, to form a vibrant showcase of female and non-male talent. Rhona Bechaz opens the show with sass and cheek as the biblical Eve, decked out in vines and sequins. Her number gives us the lowdown on “what happened in the beginning” with wit, charm, and a dose of holy humour. Fiona Buchanan absolutely slays as Boudicca (and “slays” feels particularly appropriate here). She brings passion and authority to give the Warrior Queen a battle-ready fierceness. Sophia O’Dea shines as Cleopatra, delivering a theatrical command worthy of a queen ('Stay and Fight'). Her mighty voice is imbued with a regal strength to match the magnificence of the legendary Egyptian monarch. Asabi Goodman as Harriet Tubman offers a more subdued, poetic, and beautiful contrast to some of the show’s louder moments. Her reflective and grounded performance allows the production to have a moment to breathe early on. Naviah Morris delivers a powerful depiction of Grace Tame in 'Smile,' using a wisely calm and soulful sound to express the frustration of marginalised voices trying to be heard. Themes of the Me Too movement are integrated clearly, reminding us that these stories are not only personal but also collective, emphasising the need for solidarity and change. 'Papa, Are You There' sees Priya Shah portray Malala Yousafzai. It opens with a striking rock edge that instantly captures attention and echoes a feeling of determination and resilience. As the song progresses, the gradual addition of instruments from just a piano mirrors her emotional journey, making Priya's solo a compelling tribute to this pivotal moment in Malala's story. Loretta Melit is a highly compelling storyteller, stepping into the shoes of Virginia Woolf as she pens A Room of One's Own. Her story conjures up the imagined life of Judith Shakespeare, the fictional sister of the Bard. Loretta maintains emotional focus in her 8-minute tale, bringing Judith to life as she battles the frustration and ultimate tragic fate of being a talented and ambitious woman stuck in the shadows of a male-dominated world. Louella Baldwin's stunning voice adds a bluesy flair to Billie Jean King's song 'Hey Bobby Riggs' with a fiery glint in their eye. It is a story of true gumption, serving as both a protest against the gender inequalities prevalent in sports and society at large, while celebrating the triumphs of women who dared to challenge the status quo. Rhea Basha as Cathy Freeman takes us on a sprint down memory lane, from school sneakers to gold medal glory, as she transforms into a national treasure. It's a lovely inclusion that tugs at the heartstrings, thanks to Rhea's gorgeous tone. Rounding out the sports stars lineup, Hannah Macri and Zara Lassey take a splash in the past as they share a sweet duet as Olympic swimmers Fanny Durack and Mina Wylie in 'The Water is Where'. It’s a tender moment in the show, adding another layer to the historical range of stories. One of the most fun moments of the show comes from Meg Kiddle, Fiona Kennedy, Deidre Grace, and Sherryl-Lee Secomb taking the stage as the Supreme Court Justices ('Order in the Court'). Their number is playful, rhythmic, and wonderfully connected, blending entertainment with a clever commentary on the judicial system. Hannah Davies gives Mary Magdalene a musical makeover that is fresh and unexpected, with a Southern Belle folk style in 'The Only Girl at the Table' and a toe-tapping rhythm that makes the number an instant crowd-pleaser. Samantha McLaughlin truly stands out as Julia Gillard in 'Not Now, Not Ever'. They have fully embraced the role and the nuances that define Gillard’s dry public composure, right down to those strong diphthongs. Sam finds the humour without undercutting the gravity of the moment, allowing the audience to appreciate the challenges Gillard faced in office while honouring her leadership, gender, and resilience against adversity. Della Days brings a watchful intelligence to Eleanor Roosevelt in 'Ladies of the Press', capturing a woman who knows exactly how to work a room without needing to shout over it. The number focuses on a specific turning point, showing Eleanor not just as a First Lady, but as someone actively shaping the conversation. Laura Fois is magnetic in her portrayal of the iconic artist Frida Kahlo. Her performance transcends mere imitation, breathing life into the complex character, who is celebrated for her striking artwork and vibrant personality. Accompanied by the melodies of Spanish guitar, traditional rhythms, and lyrical language, it transports the audience to the heart of Mexico. Laura's impressive vocal control delivers each note with deep feeling and holds our attention with complete ease. Rowena Orcullo Ryan’s portrayal of Hau Li, Mulan's mother, gives space to a quieter kind of strength. Her performance showcases her soaring vocal abilities through a beautifully crafted interpretation. Through this character, we witness the (often-unseen) struggles and sacrifices that mothers endure in their efforts to support and protect their children. Jeanne Reynolds as Janet Armstrong offers another angle, representing the wife standing in the shadows of Neil Armstrong, and a mother dealing with the heartache of losing a child. Her story 'One Step Closer' reminds us of the women whose lives are shaped around famous men and historic moments. It provides a grounded domestic counterpoint to the more public-facing icons in the show. Led by Musical Director Nate Stevenson, the five-member band is one of the production’s strongest assets, moving confidently through folk, blues, soul, rock, ballad, and musical theatre styles. The score itself by Carmel Dean is strongest lyrically, with many songs telling each woman’s story quickly and passionately. While not every melody feels equally memorable, the cast and band squeeze every last drop out of the material. Sure, some lyrics are as cheesy as a pizza, but that suits the style and spirit of the show. They are not trying to be cold, aloof, or subtle about its message. It is here to make a point. Visually, the production supports the song cycle format well. The projections are useful, helping introduce each woman and quickly orient the audience as the show moves from one figure to the next. In a production that covers so much historical ground, those visual aids are helpful (but easier to read when not in cursive). The costumes are not overdone, giving enough visual suggestion without becoming too literal or distracting. There is a mix of microphone styles used throughout the show, and overall the sound supports the wide variety of styles well. With a cast this large and a score that shifts so often, there is a lot to balance, and the production handles that scope well. The grand finale, 'We Rise', gathers the company together with a strong sense of purpose and celebration. It is the kind of ending that leaves the audience feeling energised, connected, and ready to research at least three women that they somehow never learned about properly in school. This could have felt like a parade of historical figures, but the cast brilliantly brings out the person inside each portrait. Footlights crafts a lively tribute to those women who made history by refusing to disappear. After all, well-behaved women seldom make history.

Georgy Girl: The Seekers Musical Presented by: On the Boards Theatre Company Director/Set Designer: Lyn Pelgrave Musical Director/Conductor: Robert Clark Choreographer: Sarah Russo-Cooper Lighting Designer: Tom Dodds Sound Designer: Josh Cathcart Production/Stage Manager/Marketing: Susan Fenn Photography: Aylish Tann - Artist Focused Get ready for a nostalgic, tuneful trip back to the 1960s. Georgy Girl: The Seekers Musical walks into Brisbane with big hair, melodious moments, and swinging tunes! This show has the kind of wholesome charm that had me swaying in my seat and smiling like I’d been handed a hot Milo, a weighted blanket and a little pocket of peace from another decade. Presented by On the Boards Theatre Company at the Twelfth Night Theatre, Georgy Girl follows the rise, success, breakup and reunion of The Seekers, with Judith Durham at the emotional centre of the story. With book by Patrick Edgeworth, the show moves from early local gigs to jet-setting international fame, weaving public triumphs with Judith’s private struggles around homesickness, self-image, heartbreak, tour exhaustion, and career identity. Directed by Lyn Pelgrave, this production feels like a musical scrapbook come to life... Like you a flicking through a family photo album while your parents’ old records play in the next room. It understands that The Seekers’ appeal was never about flashiness. It was about sincerity, musical clarity and four people standing together, making their music sound effortless, even when it absolutely was not. The audience was invested from the start, no convincing necessary! Whenever a familiar song began, you could feel the recognition ripple around the room. I overheard whispers like, “She looks so like her,” and “I have to keep reminding myself that I’m not listening to the actual Seekers.” And I definitely agree. The production gets wonderfully close to that clean, bell-like sound without slipping into tribute-act territory. As Judith Durham, Kiana Tann gives the show its clearest emotional pull. From the moment I heard her as young Judith, I was in awe. Her tone is pure and beautifully suited to Durham’s sound, with a soaring range, superb pitch control, and enough power to sit above the group while still blending into those famous harmonies. Tann captures Judith’s sweetness, introversion, and wholesome quality without turning her into a porcelain doll. There is softness, but there is spine too. Beneath it all, she remains "just a girl from Balwyn" attempting to make sense of the whirlwind of success surrounding her. The line “When I sing, nothing worries me” sums up Judith’s bond with music beautifully. Singing becomes her anchor in a life moving rapidly. Georgy Girl shows the tug-of-war between public triumph and private fatigue, and the most moving thread is watching Judith find comfort in her bandmates and certainty through her voice. ‘Basin Street Blues’ introduces Kiana beautifully, ‘The Olive Tree’ gives her space for gorgeous solo control and emotional stillness, and ‘I’ll Never Find Another You’ carries heartbreak with restraint. No big soppy dramatics. Just the sting, and that purity in her tone. Also, her Act II red sequinned look for ‘Mamma’s Got The Blues’ was such a moment. A full sultry goddess arrival, with jazz soul to spare. The four central performers have very sweet chemistry. Kristian Scott as Athol, Liam Waldock as Bruce, Simon Chamberlain as Keith and Kiana Tann as Judith create a quartet dynamic that feels warm and familiar, like a fuzzy jumper knitted by your nan. The line “We’ve been doing this for four years; it was supposed to be ten weeks!” gets a chuckle because it captures the madness of their rise. Imagine setting out on a quick musical side quest, only to become internationally famous! Kristian Scott has heart and soul as Athol, with his trusty double bass always tagging along like a loyal sidekick. I respect the commitment to hauling that beast of an instrument all around the stage! Liam Waldock brings a gentle, boy-next-door warmth to Bruce and nails those tricky middle harmonies, while Simon Chamberlain struts in with Keith’s cheeky ladies’ man charm and strong tenor sound, adding extra sparkle to the group. Narrating the story, Geoffrey Winter sashays onto the scene as Ron Edgeworth, popping up from just about everywhere throughout the show. He has a suave but dorky quality (somewhere in the Rupert Everett neighbourhood), which I mean as a total compliment. His commentary guides the story with verve, and his duet with Judith, ‘I Remember’, is so beautifully sung and illuminated that it seems as if even the spotlights are rooting for them! Timothy Aaron Cooper makes a strong impression as John Ashby, Judith’s first love and the guy who teaches her what heartbreak feels like, all while serenading us with his golden pipes. Samantha Paterson brings sparkle as Judith’s devoted sister Beverley, leading a dazzling second-act boost with ‘Keep A Dream In Your Pocket’. Jacob Bentley Ballard and the ensemble round out the world with plenty of featured character work, helping the production bounce through changing eras, venues and emotional chapters. Sarah Russo-Cooper’s choreography embraces the 1960s with playful energy. ‘I’m Into Something Good’ kicks Act II into gear, while the ‘I Know A Place/Downtown’ mashup brings sunniness to the group’s arrival in grey London town. Geoffrey Winter gets a playful feature in ‘Get Me To The Church On Time’, while ‘Georgy Girl’ closes both Acts as the ear-worm that will follow you home. Under Robert Clark’s musical direction, the excellent 12-piece orchestra gives the show the kind of richness and warmth only live music can bring, especially with more than 30 songs packed into the score! The boogie-woogie piano work is a treat, and the overall sound is bright, folksy and full. Those famous harmonies come through clearly, carrying the familiar Seekers sound with crisp, clean precision. In ‘The Carnival Is Over’, the a-cappella singing strips everything back for a tender moment, letting the bare voices do the talking. ‘Walk With Me’ shifts the mood again, with hauntingly beautiful off-stage vocals giving the Vietnam-era material a ghostly, reflective quality. Performed by the full company and children’s community choirs standing in the aisles, ‘I Am Australian’ spills out beyond the stage and wraps itself around the room. It gives the finale a sense of shared memory rather than simple sentiment, and knowing Bruce Woodley wrote the song adds another little emotional kick to the ribs. During the final stretch, I had a lump in my throat. The story moves quickly through years, cities and career milestones, as bio-musicals tend to do, so the visual world has to do a lot of quick storytelling. Lyn Pelgrave’s two-level set supports it well, giving the cast clear spaces to shift between performance, memory and narration. The beige, rusty brown, white and black palette fits the era without screaming “'60s theme party,” and the blocking uses the levels suitably. Sarah Bowerman’s costumes, paired with Niamh Cadoo-Dagley’s big styled wigs, place us firmly in the era with bright colours, go-go boots and plenty of handmade-style dresses for Judith. Her (many) costume changes help track her journey through different stages of fame and selfhood, while the on-stage ‘Georgy Girl’ changes bring a burst of fun. Josh Cathcart’s sound design is superbly balanced, with the band, singers and ensemble sitting together cleanly. And for a show built on harmony, that matters enormously. Tom Dodds’ lighting neatly separates concert numbers, intimate scenes and memory-like moments, so the show can shift from public spotlight to private moments without getting muddy. One extra thrill of the night: the real Keith Potger was in attendance. No pressure, cast. Just one of the actual Seekers was watching on! What I enjoy most about this production is that it does not rely only on recognition. It reminds us why these songs endure. The Seekers’ music is hopeful, gentle, and extremely singable, with a sincerity that knows how to move you. Georgy Girl: The Seekers Musical taps into the strange magic of songs that live in our country’s collective memory. By the end, the sold-out house was grinning, grooving, and maybe getting a little misty-eyed. I am not naming names...

Title: When the Wind Blew Presented By: Paula-Mary Camilleri in association with Eli J Ball & Shine Performing Arts Academy Genre: Family-Friendly Original Australian Musical Synopsis: When the Wind Blew is a family-friendly musical set in the vast and vibrant Australian bush. Bursting with heart, humour and unforgettable songs, this uplifting production invites audiences of all ages on a journey about courage, friendship and finding where you belong. The story follows Hazel, a young sugar glider terrified of taking her first glide. When a fierce storm violently shakes her from her tree and separates her from her family, Hazel finds herself lost and alone in an unfamiliar world. With no choice but to move forward, she must discover a bravery she never thought she had in order to find her way home. Along the way, Hazel meets an eclectic group of companions: Ziggy, a cautious echidna; Peanut, a gentle koala; and Arthur, a nervous spider. Guided by Coco, a wise wallaby, they travel across the bush to seek guidance from Madam Virginiana, a mystical possum whose tea-leaf riddles challenge each character’s understanding of home and belonging. But danger lurks in the shadows. Diesel, a cunning and vengeful dingo, relentlessly pursues them with the help of his eerie accomplices. As the journey grows more perilous, the group learns that home isn’t just a place—it’s the people who walk beside you. Written by Paula-Mary Camilleri and Eli J Ball, When the Wind Blew is a joyful, moving musical celebrating bravery, connection and the courage to leap, even when you’re afraid. Audition Date: Sunday 12 July 2026 Audition Time: Children's Ensemble - 9AM -10AM Hazel Auditions - 10AM - 11AM Adult Auditions (Ensemble & Leads) - 12PM - 2PM Callbacks - 3PM - 4PM Audition Location and Address: St Benedict's College, Mango Hill, Queensland Audition Self-Tape Due: 5PM, Saturday 11 July 2026 Audition Requirements: Children's Ensemble Audition: Dance call Learn and perform a song from the show Cold read from the script Wear appropriate dance attire and footwear Hazel Audition: Must attend Children's Ensemble session Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Cold read from the script Adult Auditions (Ensemble & Leads): Dance call Tap call (if experienced) Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Possible cold read from the script Wear appropriate dance attire and footwear Callbacks: Script readings Learn and perform material from the show Online Auditions: Submit two contrasting 1-minute or 32-bar musical theatre songs Include headshot and video link Email submissions to info@shineperformingartsacademy.com.au Video should be filmed waist-up with clearly audible vocals Audition Registration: Via Shine Performing Arts Academy Audition Pack: When the Wind Blew Audition Pack Performance Dates: 18 - 20 December 2026 Performance Times: Friday – 7PM Saturday – 2PM & 7PM Sunday – 2PM Performance Location: Redcliffe Entertainment Centre, Downs Street, Redcliffe, Queensland, 4020 Rehearsal Dates: Read Through - Sunday 19 July 2026 Costumes/Photos - Tuesday 21 July 2026 and Sunday 2 August 2026 Music & Dance Rehearsals - Most Tuesdays, Thursdays and Saturdays from August 2026 Tech Week - Tuesday 15 December – Thursday 17 December 2026 Rehearsal Times: Costumes/Photos - 5PM - 8PM Tuesdays & Thursdays - 7PM - 9PM Saturdays - 1PM - 4PM Tech Week - 5PM - 10PM Rehearsal Location: St Benedict's College, Mango Hill Tech Week - Redcliffe Entertainment Centre Warnings: Theatrical haze Strobe lighting effects Auditionees may be photographed and recorded during auditions and callbacks Performer Age: Hazel: 10–16 years (playing approximately 8 years old) Children's Ensemble: 10–16 years Adult Principal, Featured and Ensemble Roles: 18+ Creative Team: Producers - Paula-Mary Camilleri & Eli J Ball Director - Paula-Mary Camilleri Choreographer & Musical Director - Eli J Ball Casting Consultant - Teagan Fudge Production Manager - James Reid Orchestrations - Eli J Ball Additional Piano/Vocal Arrangements & Score Preparation - Benjamin Heintz Production Website: Shine Performing Arts - When the Wind Blew Other information: This production celebrates the diversity of Queensland’s performing arts community and encourages performers of all backgrounds, experiences and abilities to audition. Applications from culturally and linguistically diverse performers and performers living with disability are strongly encouraged. All cast members aged 18+ must possess or obtain a current Blue Card. Cast members must comply with Shine Performing Arts Academy's Child Safety Action Plan, Code of Conduct and Media Consent policies. The production will be professionally recorded in audio and visual formats. Participation is unpaid. There is no participation fee and no performer compensation. Auditionees should be available for the duration of their audition session. Additional material may be requested during auditions or callbacks. Call time for performances is 90 minutes prior to curtain up. Available Roles/Character Breakdown: Hazel - Female-identifying, 10–16 years (playing approximately 8 years old) | Soprano (belt to Eb5). A young sugar glider who has a deep fear of gliding. Strong actor and vocalist required. Arthur - Male-identifying, 20s–30s | Tenor. A nerdy, quirky and uncertain spider on a journey of self-discovery. Brielle - Male or Female, 18–30 years | Tenor or Mezzo. A sly and mischievous goanna with a talent for trouble. Curly - Male or Female, 18–30 years | Tenor or Mezzo. A dim-witted curlew with a knack for getting into trouble. Coco - Female-identifying, 18+ | Soprano. A wise and warm-hearted wallaby who serves as narrator and guide. Hazel's Mum - Female-identifying, 25+ | Soprano. A caring and devoted parent. Hazel's Dad - Male-identifying, 25+ | Baritone/Tenor. A loving but firm parent who guides Hazel. Stewart / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Flamboyant tiger quoll. Doubles as Passerby and Wombat 2. Joyce / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Owner of the Gum Leaf Cafe. Doubles as Mother Platypus. Peter / Ensemble - Male-identifying, 18+ | Baritone. Co-owner of the Gum Leaf Cafe. Doubles as Ernie the Emu and Wombat 1. Adventurer 2 / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Doubles as Emu 1 and Galah 1. Mal / Ensemble - Male-identifying, 18+ | Tenor. Flamboyant magpie. Adventurer 1 / Ensemble - Male-identifying, 18+| Tenor. Human explorer. Doubles as Kevin the Kangaroo. Lenore / Ensemble - Female-identifying, 18+ | Soprano. A parrot with a sore claw. Doubles as Mother Skink. Belvedere / Ensemble - Male-identifying, 18+ | Tenor. Doubles as Kookaburra. Parrot / Ensemble - Female-identifying, 18+ | Soprano. Doubles as Galah 3. News Reporter / Ensemble - Female-identifying, 18+ } Mezzo-Soprano. Doubles as Galah 2 and Emu 2. Kangaroo / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Doubles within the ensemble. Milly / Ensemble - Female-identifying, 18+ _ Mezzo-Soprano. A flirtatious red wattle bird. Tilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Lilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Myna Bird / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Father of Tommy Tweets. Lorikeet / Ensemble - Male-identifying, 18+ | Baritone/Tenor. An energetic lorikeet. Ensemble/Dancers/Swings - All genders, 18+. Triple-threat performers playing multiple ensemble roles. Strong technical dance skills, including Broadway-style tap, preferred. Brenda / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A sassy dunnart. Sophie / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A nosy owl. Sophie S / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A kind lizard. Tommy Tweets / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A pompous myna bird. Oliver / Children's Ensemble - Male-identifying, 10–16 years | Tenor. An energetic lorikeet. Liam / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A nerdy platypus.

Title: The Brothers Grimm Spectaculathon Presented By: Brisbane Arts Theatre Genre: Comedy, Youth Theatre, Fairy Tale Parody Synopsis: Two narrators attempt to recreate all 209 fairy tales of the Brothers Grimm in a wild, fast-paced extravaganza. This is a one-act version of the play being performed at various festivals as a youth production. Audition Date: Saturday June 13th, 2026 Audition Time: 12PM - 4PM Audition Location and Address: Queen Alexandra Home, 347 Old Cleveland Road, Coorparoo, QLD Audition Requirements: Must be between 12 and 17 years old. Prepare a monologue of no more than 1 minute from a fairy tale or a comedic monologue. Auditions will be conducted in a workshop format with groups of up to 10 people. Audition Registration: Book your audition time on the Brisbane Arts Theatre website HERE Audition Pack: The Brothers Grimm Spectaculathon Audition Pack Performance Dates: 31 July - 2 August 2026 (Beenleigh) 7 - 9 August 2026 (Ipswich) 14 - 16 August 2026 (Sunshine Coast) TBC (King Street Players) 22 - 23 August 2026 (Toowoomba) Performance Times: Festival schedule varies; all cast members are expected to be available for all performances. Performance Location: Various festival venues across South East Queensland. Rehearsal Dates: Wednesdays and Saturdays from 17 June 2026 to 29 July 2026. Specific dates listed in the production schedule. Rehearsal Times: Wednesdays - 6PM - 9:15PM Saturdays - 12PM - 4PM Rehearsal Location: Queen Alexandra Home, Coorparoo Lavalla Centre, 58 Fernberg Road, Paddington Warnings: Fast-paced comedy with multiple role changes. No additional content warnings specified. Opportunities are open to people of all genders, abilities, backgrounds, and ethnicities. Performer Age: 12–17 years old. Creative Team: Director - Natalie Murtagh Production Website: Brisbane Arts Theatre - The Brothers Grimm Spectaculathon Other information: Successful auditionees are required to become financial members of Brisbane Arts Theatre if they are not already members. Membership costs $40 and is valid for 12 months. Cast members should indicate any rehearsal or performance conflicts and are expected to be available for all festival performances. Available Roles/Character Breakdown: All cast members will be expected to play multiple roles as allocated by the director. Roles include - Narrator 1 Narrator 2 Girl Dirt Merchant Rumpelstiltskin Enchantress The Devil Prince Rapunzel Audience Member Hansel Gretel Witch Dwarf 1 Dwarf 2 Snow White Witch 2 Prince 2 Johannes Raven King Queen Plinkie Plie Cinderella

Title: The Shoe-Horn Sonata Presented By: Villanova Players Genre: Drama Synopsis: Set in 1995, The Shoe-Horn Sonata reunites two women who were prisoners of war in Japanese camps during World War II. A television documentary forces them to revisit their shared past, confront the present and question the future. Woven through their fifty years of separation are a shoe-horn and the enduring threads of loyalty, friendship and love that form their uncommon bond. A heart-warming story of bravery and friendship, based on true accounts of Australian nurses during World War II. Audition Date: Saturday June 27th, 2026 Audition Time: 10:30AM - 11:30AM Audition Location and Address: The Hut, Jean Howie Drive, Balmoral Park, Morningside Audition Self-Tape Due: If you’re unable to make it to in-person auditions, please submit a video audition to info@villanovaplayers.com by June 27 and please email with any questions. Audition Requirements: Auditionees will be asked to complete a cold read from the script. Audition Registration: Please book an audition session and complete the Expression of Interest form. Audition Pack: The Shoe-Horn Sonata Audition Pack Performance Dates: September 18th - 20th, 2026 Performance Times: Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 2PM Performance Location: Ron Hurley Theatre, Seven Hills Rehearsal Dates: Commencing Sunday 26 July 2026 Rehearsal Times: Mondays & Wednesdays - 7PM – 9:30PM Sundays - 11AM – 4:30PM Rehearsal Location: The Hut, Jean Howie Drive, Balmoral Park, Morningside Warnings: This production contains themes relating to war, imprisonment, trauma, loss and the experiences of prisoners of war during World War II. Performer Age: 18+ Creative Team: Director - Jane Binstead Production Website: Villanova Players - The Shoe-Horn Sonata Other Information: Villanova Players is a community theatre group based in Morningside and has been producing theatre since 1948. The company presents a diverse annual program including plays, musicals, youth productions and special projects. Please note that the role of Sheila has already been cast. Available Roles/Character Breakdown: Bridie Gender: Female | Playing Age: 65+ An Australian nurse who served in Malaya during World War II and was imprisoned in a Japanese prison camp. Tough, funny and resilient, Bridie is one of the subjects of a television documentary exploring the experiences of former prisoners of war. More than fifty years after the war, she is forced to revisit memories of survival, friendship and loss. Interviewer Gender: Male (Voice Only) | Playing Age: Any Age The off-stage interviewer conducting the television documentary. This role does not appear on stage and is heard only as a voice throughout the production.

Title: 12 Angry Jurors Presented By: Lockyer Regional Performing Arts Genre: Play/Drama/Thriller Synopsis: On a hot summer day after a long trial, a jury must decide whether a 19-year-old man is guilty of murdering his father. What at first appears to be a straightforward case unravels into heated discussions, as the evidence is re-examined, re-enacted, and the twelve jurors are forced to truly question if there is in fact some measure of "reasonable doubt". As tempers grow short and arguments become tense, a new murder threat is carried out before their own eyes, and each juror begins to reveal their own character. Twelve Angry Jurors is a heightened courtroom thriller that puts you on the edge of your seat while you bear witness to how these 12 jurors come to their final verdict, and what lengths they will go to in reaching it. Audition Date: June 27th & 28th, 2026 Audition Time: 10AM - 4PM (later or earlier sessions available upon request) Audition Location and Address: Laidley Cultural Centre, 3 Laidley Plainland Rd, Laidley North QLD 4341, Australia Audition Requirements: Select sides will be available at the audition for cold reads Audition Registration: Register for your audition by emailing info@lrpa.au with; Name, Mobile Number, Email address, role/s interested in, preferred audition time Audition Pack: 12 Angry Jurors Audition Pack Performance Dates: October 22nd - 25th, 2026 Performance Times: Thursday & Friday - 7PM Saturday - 1PM & 7PM Performance Location: Laidley Cultural Centre, 3 Laidley Plainland Rd, Laidley North QLD 4341, Australia Rehearsal Dates: July 11th - October 20th, 2026 Rehearsal Times: Saturdays - 9AM - 3PM Technical rehearsals October 15th - 20th, 2026 Rehearsal Location: Laidley Cultural Centre, 3 Laidley Plainland Rd, Laidley North QLD 4341, Australia Performer Age: 16+ Creative Team: Director - Gabriella Ambrey Assistant Director - Grace Crichton Production Website: LRPA - 12 Angry Jurors Other Information: All auditionees will be notified of the outcome of their auditions by the 1st of July All cast may not be required for all rehearsals, but please keep all Saturdays available. Cast will be emailed a detailed schedule. Available Roles/Character Breakdown: Primary Roles Juror 8 - A quiet, thoughtful and gentle person who is the moral compass of the show. This role will require extensive dialogue and debate. Juror 3 - A very strong, forceful and opinionated character who is intolerant of other people's opinions and forcing their own. This is a complex and emotionally charged role, portraying toughness with glimpses of pain and insecurity. Juror 4 - An intellectual, articulate character, who remains composed and confident throughout. This role will require subtle and nuanced acting to portray their humanity beneath the logic and facts. Secondary Roles Juror 1 - The foreman of the jury, quite formal in manner and enjoys taking charge. Their neutrality of character requires nuanced acting, portraying leadership and vulnerability. Juror 5 - A quiet observant juror who comes from a tough, urban background. They move form a reserved stance to growing assertiveness. This role requires a balance between a tough exterior and vulnerability. Juror 9 - A mature-aged juror who offers quiet wisdom and thoughtful observations. This role portrays physical vulnerability with intellectual sharpness. Juror 10 - An angry bitter juror who is openly prejudiced and antagonistic. This is a complex role that requires the ability to portray genuine fear and insecurity beneath outbursts of hostility. Supporting Roles Juror 2 - A meek and hesitant person who is easily swayed by other people's opinions. This role will require strong non-verbal acting and the ability to portray a gradual shift from timidity to growing assertiveness. Juror 6 - A juror with quiet strength and sincerity. This character maintains a straightforward, dependable presence, commanding quiet respect. Juror 7 - An impatient, selfish person who believes they have more important things to do than sit on a jury. This role will require good comedic timing. Juror 11 - A European immigrant who displays intellectual rigour and emotional warmth. Juror 12 - An unsympathetic businessman with a playful nature. This role balances humour with sincerity and requires comedic timing. Guard - minimal lines and time onstage. This role is a great opportunity for someone looking for a soft entry into the acting world, with a few solo lines. Non Performing roles Stage Crew Stage Manager Lighting Sound Costumes Hair and Make-up Set Construction

Title: Next to Normal Presented By: Millennial Productions Genre: Musical Theatre / Contemporary Pop-Rock Musical Synopsis: Next to Normal is the story of Diana Goodman and her family. Traumatised by the death of her infant son from an undiagnosed intestinal obstruction, Diana has lived with bipolar affective disorder, experiencing episodes of depression and delusional beliefs for the past seventeen years. The illness has affected everyone in her life and has nearly torn her family apart on several occasions. With subject matter rendered achingly recognisable by Brian Yorkey and a dynamic, energetic pop-rock score by Tom Kitt, Next to Normal enables a small group of actors to showcase powerhouse vocals while exploring pressing contemporary issues of trauma, loss, mental health treatment and the meaning of family. Audition Date: Saturday June 20th, 2026 Audition Time: Individual audition slots (allocated upon registration) Audition Location and Address: Toowong Hall Audition Self-Tape Due: 5PM Friday June 19th, 2026 Audition Requirements: Auditionees will attend an individual audition slot (no dance or movement call required). Please prepare: A short read for your preferred character (using the provided audition dialogue). One song in the style of the show (upbeat) – 45–60 seconds. One contrasting song – 45–60 seconds. Please bring backing tracks on a USB or AUX-compatible device. Audition Registration: Registration is required via the Millennial Productions audition form. Audition Pack: Next to Normal Audition Pack Performance Dates: September 23rd - 26th, 2026 Performance Location: Ron Hurley Theatre, Seven Hills Rehearsal Dates: July 21st - September 20th, 2026 Rehearsal Times: Tuesday & Thursday - 7 - 10PM Sunday - 3 - 8PM Rehearsal Location: Hamilton Town Hall (Tuesdays) Upper Kedron Hall (Thursdays and Sundays) Warnings: This production contains themes and depictions relating to: Mental illness and psychological distress Grief, trauma and loss Suicide and suicidal ideation Emotional conflict within family relationships Psychiatric medication and treatment References to self-harm Strong language and mature themes Depictions of medical treatment Emotionally intense scenes involving anxiety, depression and dissociation These themes are central to the story and may be confronting for some individuals. Millennial Productions has engaged a Mental Health Consultant to support the cast and creative team throughout the rehearsal and performance process. Successful cast members are expected to prioritise rehearsals and disclose any conflicts at the time of registration. Cast members will only be called when required and a full rehearsal schedule will be provided at the first rehearsal. Technical rehearsals will take place at the Ron Hurley Theatre from 21–22 September and throughout production week. Full availability is required for technical rehearsals and all performances. Performer Age: Applicants must be 18 years or older at the time of audition. Creative Team: Director – Taylor Atley (she/her) Musical Director – Victoria Keomahavong (she/her) Associate Director / Intimacy Liaison – Ellen Axford (she/her) Mental Health Consultant – Maddison Joyce (she/her) Production Website: Millennial Productions - Next to Normal Other Information: Millennial Productions is a Brisbane-based not-for-profit organisation dedicated to advancing performing arts culture in South East Queensland through innovative, inclusive and high-quality productions. Millennial Productions recognises the diversity of the Australian performing arts community and strongly encourages applications from performers of varied experiences and circumstances, including performers from culturally diverse backgrounds and performers with disabilities. Performers of all gender identities are encouraged to audition for any role they feel best represents them. The production team strongly encourages performers aged 30+ to audition for the roles of Diana, Dan and Dr Madden. These roles explore the complexities of marriage, parenthood and grief, and the team is seeking performers who can bring authenticity and emotional maturity to the storytelling. This production is non-remunerated. Successful cast members will be required to pay a $25 annual Millennial Productions membership fee. No additional mandatory production fees apply. Available Roles/Character Breakdown: Diana Playing Age: 36–45 | Vocal Range: G3 – F#5 A sharp, intelligent woman battling Bipolar disorder and unresolved grief following the loss of her infant son. Diana struggles to balance reality with the emotional pull of the past, often feeling trapped between medication, memory and identity. Fiercely loving yet emotionally fractured, she longs to reclaim agency over her life and define what “normal” truly means. Gabe Playing Age: 18 | Vocal Range: B2 – C5 The charismatic, magnetic embodiment of the Goodman family's unresolved grief. Though charming and playful, Gabe represents Diana's inability to let go of the past and the emotional wounds haunting the entire family. He is both comforting and dangerous — a constant reminder of what has been lost. Dan Playing Age: 36–45 | Vocal Range: Ab2 – B4 A devoted husband and father who has spent sixteen years trying to hold his family together through optimism and routine. Practical, dependable and deeply caring, Dan avoids confronting his own grief in an attempt to fix everything around him. Beneath his calm exterior lies a man terrified of losing the family he has worked so hard to protect. Natalie Playing Age: 16 | Vocal Range: G3 – G5 A high-achieving pianist desperate for control in a household defined by chaos. Intelligent, cynical and emotionally guarded, Natalie feels invisible within her family and struggles under the pressure of perfectionism. As she begins to rebel against the life around her, she searches for connection, identity and stability of her own. Henry Playing Age: 17 | Vocal Range: G#2 – B4 A laid-back, thoughtful musician who becomes Natalie's emotional anchor. Warm, patient and quietly perceptive, Henry offers honesty and compassion in contrast to the tension within the Goodman household. Beneath his easy-going nature is a young man capable of deep empathy and unwavering support. Dr. Madden / Dr. Fine / Anesthesiologist Playing Age: 30–40 | Vocal Range: A2 – A4 Diana's psychiatrists, often portrayed by the same actor. Dr. Fine is clinical, methodical and focused on medication management, while Dr. Madden represents a more intense and invasive approach to treatment. Together, they reflect the complexities, limitations and ethical challenges of modern mental health care.

Stories in the Spotlight Prime Time Broadway returns to Honour Productions this June with a stacked setlist and a cast ready to step into the spotlight. This year, the musical theatre showcase strips things right back. There is no single theme, no elaborate choreography, and no attempt to force the songs into one neat narrative. Instead, Prime Time Broadway places its performers centre stage, quite literally, with the cast remaining onstage throughout as each number blooms into its own self-contained story. The 2026 setlist is a mix of contemporary musical theatre favourites, lesser-known gems, emotional solos, playful duets, and group numbers. The program celebrates the breadth, humour, heart, and vocal thrill of musical theatre. Ahead of the season, we spoke with director Sheryl-Lee Secomb and several cast members. A Stripped-Back Spotlight Under the direction of Sheryl-Lee Secomb, this now-annual showcase will embrace simplicity this year, placing the focus firmly on the performer. “Alone in a spotlight, the focus is on the artist, the music and the story. The result is unpretentious and relatable. Each song works in our format because we focus on the individual performer and how they connect with the song. When you remove most of these songs from their musical theatre context, you find wonderful storytelling that finds a whole new life in the everyday world of our performers and audiences,” Sheryl-Lee shared. “By interrupting expectations, our aim is to break down the wall between audience and artist,” Sheryl-Lee said, describing the atmosphere as one where “it feels like the audience is sitting in our living room with us, everyone just enjoying wonderful music, laughs and storytelling.” That sense of connection also shapes the way songs were chosen. Some performers requested specific numbers. Some are singing their audition pieces that were too good to leave behind. Others were matched with songs by the creative team. Opening Up the Room Stephanie Lee-Steere opens the show with ‘What’s Inside’ and ‘Opening Up’ from Waitress, two songs she says “capture the heart and spirit of musical theatre from the very first moments.” Even without the sets and costumes of a full production, Stephanie feels the strength of Sara Bareilles’ music and storytelling is enough to “instantly create that world for the audience.” She is especially drawn to the emotional honesty of Waitress, describing the score as “a beautiful balance of vulnerability, humour, and strength.” It’s a perfect choice for the “start of a journey through lots of different stories and styles across Broadway.” Finding the Courage to Sing For Sally Jacobs, her audition song ‘The Life I Never Led’ from Sister Act carries deep personal meaning. Its themes of fear, courage, and self-discovery sit close to her own life. “In 2021, I made the decision to return to singing, to reconnect with something I once loved and had devoted so much of my life to. The journey toward recovery brought many tears and challenges as I faced perfectionism, fear of failure, self-doubt, and the feeling of never being good enough. But slowly, I began to find my voice again.” For Sally, the song “speaks to the parts of ourselves we hold back, the dreams we silence, and the risks we don’t take. But at its core, it is also a song about courage. It’s about choosing to be brave enough to step into the unknown, to take chances, and to truly live, because life is too precious to spend on the sidelines.” For Merryn Holder, the show offers a chance to explore one of musical theatre’s great survival songs: ‘I’m Still Here’ from Follies. “I’m delighted to perform this Sondheim classic,” she said. “Talk about a challenging song!” The number, sung by a former showgirl reflecting on a life of triumphs, knocks, reinventions, and sheer persistence, is one Merryn feels requires lived experience. “One needs to be of a certain age to sing this song with conviction. As I am now in my golden years, I relish the opportunity to act out this life story. I look forward to sinking my teeth into this song.” The showcase will also feature younger performers tackling material from 13 the Musical and Tuck Everlasting, bringing even more shades of courage and discovery into the room. A Song for an Angel For Laura Fois, ‘To My Angels’ from SuperYou is both a personal choice and a tribute. “I heard ‘To My Angels’ randomly on YouTube and it spoke to me. It is one of those songs that represents struggles, and I feel it can talk to anyone struggling with absolutely anything. It’s a scream for help in solitude but singing that makes you feel heard.” Laura first worked on the song with her vocal teacher, Loic Valmy, during a difficult time in her life. “I wasn’t well,” she shared. “I had to stop taking classes and before I could go back, Loic suddenly, heartbreakingly and unexpectedly, passed. This is the last song I took to him, and I knew it needed to be performed somehow,” Laura said. Prime Time Broadway, with its focus on individuality and personal storytelling, felt like the right place to bring it forward. “So here I am, with this beautiful song, which is a shared story and an homage to my teacher and everything he taught me.” Yearning For More Kinta Suryadarma brings ‘Wild Uncharted Waters’ from the live-action The Little Mermaid into the program, reimagining a song originally written for Prince Eric, and one she describes as having “such aggressive yearning.” For Kinta, the song’s appeal lies in its cinematic sweep and “visceral feelings of longing and chasing something you can’t fully explain yet.” Taking it out of its original context has allowed her to make it her own: “it’s about wanting more from life, taking risks, following your instincts,” she said. Gender-bending the number has also opened up more room to play. “I can’t just follow what Jonah Hauer-King does in the movie, because clearly I’m not a guy,” she laughed. “It leaves a lot of room to explore different colours and dynamics that make it feel more authentic and comfortable for me vocally.” Cassie Midgley is performing ‘Say the Word’ from The Unauthorized Autobiography of Samantha Brown, a song that began as her audition piece and has now found its way into the show. “It holds a really special place in my heart,” Cassie said. She was drawn to the writing of Kerrigan and Lowdermilk, particularly their “incredible ability to capture the nuance and complexity of human emotion in a way that feels deeply real,” she said. For Cassie, ‘Say the Word’ stands out because it does not rely on a huge dramatic declaration of love. Instead, she said, “the emotions are quieter, more uncertain, more complicated, but that doesn’t make them any less raw or meaningful. Real life is often like that. Sometimes it’s confusion, hesitation, longing, overthinking, hoping someone will finally say what you need to hear.” The yearning does not stop there, with Cassie also performing ‘Will He Like Me’ from She Loves Me, and Ashlie Beauchamp bringing the beautifully anxious ‘When He Sees Me’ from Waitress to the stage. When the Harmonies Hit For Maddi Halvorson, ‘When the Chips Are Down’ from Hadestown brings something different to the setlist: groove, attitude, and tight three-part harmony. “I love to bring a really fun number with strong female harmonies to Prime Time,” Maddi said. “‘When the Chips Are Down’ is so unique with its deep and rich vocal texture… it’s so satisfying to perform live.” Maddi saw Hadestown in Sydney last year and has been hooked ever since. “I have been obsessed with every song in the show,” she said. “I love to see strong alto roles!” The show will also feature some very fun duets, trios, and quartets, including ‘Love You till the Day’ (It Shoulda Been You), ‘The Doctor is In’ (Charlie Brown), ‘Been a Long Day’ (How to Succeed), and ‘What You Got’ (Freaky Friday), proving there is nothing quite like musical theatre characters trying to communicate. Full-Circle Moment This writer, Samantha Hancock also has her own little place in this year’s show. “What keeps bringing me back to Prime Time is the community of it all: the kindness in the room, the intimacy of the format, and the chance to hear people express themselves through songs that genuinely mean something to them.” This year, I will be performing ‘Thank You for the Music’ from Mamma Mia!, which feels very full circle. “ABBA was part of my life long before I ever played Sophie Sheridan (my first role in a musical), and returning to this song now feels like revisiting a younger version of myself with a lot more life behind me.” “I am dedicating the song to my singing students, and to my late uncle, who passed on his instruments, his love of music, and so much of his joy for life to me. In that way, he still lives on in me through music. ‘Thank You for the Music’ is a song about gratitude, and at this point in my life, music really is my whole world. It is my career, my hobby, my first love, my escape, and my freedom.” More Than a Setlist That is the heart of Prime Time Broadway. It is not just a list of songs. It is a room full of performers stepping forward with pieces that mean something to them, whether that meaning is funny, nostalgic, technically satisfying, quietly vulnerable, or deeply personal. Among them, Laura Bye will perform ‘How Did We Come to This’ from The Wild Party, another audition song that has found its way into the showcase. Drawn to the song’s musicality and the chance to shape it for her own range, Laura hopes audiences connect with the question at its centre: “how did we come to this?” For her, that question reaches beyond the musical itself and into “the bigger picture of the world at the moment, including the ways politics and the environment have come to dictate so much of our lives.” There will also be plenty of moments designed to thrill, surprise, and make you laugh. Kirsten Brown will take on ‘Watch What Happens’ from Newsies, so come along and watch whether she runs out of oxygen while attempting this non-stop song! There will be dramatic moments too, including songs from the more overlooked worlds of The Hunchback of Notre Dame and Hercules. While Jacob Ewan and James Hogan bring ridiculous humour to their solos from Freaky Friday and She Loves Me. Basically, if your preferred flavour of musical theatre is emotional devastation, vocal gymnastics, character comedy, or Disney grandeur, you should be well looked after. Some songs will be familiar. Some may be brand new discoveries. And with the cast onstage together throughout the show, each moment becomes part of something shared. The result is a showcase built not just around repertoire, but around connection: to character, to story, to memory, to music, and to the joy of performing in a room full of people who love this stuff just as much as each other. For Sheryl-Lee Secomb, that shared feeling is what she hopes audiences take away. “We love it when audiences leave our theatre talking about how they feel. They’re often surprised by the level of excellence in performance, the fact that the cast is diverse, and the whole experience is much more than something they witness; they feel seen. And our fabulous live band usually blows them away!” Bring your love of musical theatre, your curiosity for hidden gems, and possibly your singing voice. With this many musical theatre people in one room, you never know when audience participation may come calling! The full setlist is already available to peruse, and the 2026 cast features Ashlie Beauchamp, Cassie Midgley, Emily Egan, Emma Parkinson, Emma Watts, Jacob Ewan, James Hogan, Jamie Cripwell, Jordan Atiga, Jordana Johnstone, Kinta Suryadarma, Kirsten Brown, Laura Bye, Laura Fois, Leon Sparrow, Maddi Halvorson, Merryn Holder, Mike Zarate, Natarlia Pouli-LeFale, Sally Jacobs, Samantha Hancock, Stephanie Lee-Steere, and Yzabel Santos. Prime Time Broadway plays at Honour Productions (3/61 Holdsworth Street, Coorparoo), for four shows across 13 and 14 June 2026. TICKETS AVAILABLE HERE

Title: The Pirates of Penzance Presented By: Savoyards Genre: Musical Comedy / Gilbert & Sullivan Synopsis: Savoyards sets sail in 2026 with a bold, high-energy new production of The Pirates of Penzance, inspired by the iconic Essgee revival and reimagined for a new generation. Featuring the same creative team behind the smash-hit Shrek the Musical in 2024, this production blends the classic wit of Gilbert & Sullivan with contemporary theatrical flair, sharp comedy and dynamic choreography. Fast, funny and fresh — pirates have never looked, sounded or moved like this. Audition Date: June 26th - 29th, 2026 July 1st, 2026 (Callbacks) Audition Time: Principal Auditions Friday June 26th: 7PM - 10PM Saturday June 27th: 11AM - 12PM Sunday June 28th: 9AM - 12PM (with accompanist) & 12:30PM - 5PM Monday June 29th: 7PM - 10PM Movement & Ensemble Auditions Saturday June 27th: 12:30PM - 1:30PM or 4PM - 5PM Ensemble Vocals: 1:30PM - 2:30PM Dance Ensemble: 2:45PM - 4PM Callbacks Wednesday July 1st: 7PM - 10PM Audition Location and Address: June 26th, 28th & 29th - Savoyards Hall, Ferguson Street, Manly June 27th - Waterloo Bay Leisure Centre, 241 Tingal Road, Wynnum July 1st - Wynnum State High School, Peel Street, Manly Audition Requirements: Principal Auditions Prepare: Two contrasting 60-second song excerpts (32 bars) Material that demonstrates vocal strength and versatility in the style of the show Applicants will receive script sides upon registration confirmation. Movement & Ensemble Auditions General ensemble auditions include vocals and movement Dance ensemble auditions include vocals and dance Dance audition choreography taught on the day General ensemble and soloists will receive movement video prior to auditions Attire Requirements: Clothing suitable for movement Sneakers/enclosed flat shoes Jazz/ballet shoes and chorus heels encouraged for dance auditions Audition Registration: Register via email: auditions@savoyards.com.au Include: Name Mobile phone number Roles auditioning for Whether accompanist is required Audition Pack: The Pirates of Penzance Audition Pack Performance Dates: September 25th - October 10th, 2026 Performance Times: Fridays & Saturdays Evening - 7:30PM Sundays Matinee - 1:30PM Saturday 3 October & Saturday 10 October - 1:30PM & 7:30PM Performance Location: Iona Performing Arts Centre, 85 North Road, Wynnum West Rehearsal Dates: Commencing Sunday July 5th, 2026 Additional key dates Launch Event - Saturday August 8th, 2026 Sitzprobe - Sunday September 13th, 2026 Bump-in - September 11th - 12th, 2026 Bump-out - Sunday October 11th, 2026 Rehearsal Times: Sundays - 12PM - 5PM Mondays & Wednedays - 7PM - 10PM Rehearsal Location: Wynnum West State School, School Road, Wynnum West Performer Age: Minimum age 16 years Creative Team: Director - David Harrison Musical Director - Nicky Griffith Choreographer - Julianne Burke Assistant Director - Joshua Moore Production Website: Savoyards - The Pirates of Penzance Other Information: Savoyards is Brisbane’s oldest continuously running musical theatre company This is an amateur community theatre production All cast and crew are expected to assist with production duties including bump-in and bump-out Savoyards is committed to diversity, inclusion and cultural safety Performers of all backgrounds, identities and abilities are encouraged to audition A social media blackout applies until official cast announcements Available Roles / Character Breakdown: Frederic - Male | Playing Age 20–30 | Tenor (C3–B4) Earnest, loyal and unintentionally dramatic. Strong singer with charm. Mabel - Female | Playing Age 18–30 | Soprano/Coloratura (C4–D#6) Bright, confident and vocally fearless with excellent comic timing. Pirate King - Male | Playing Age 30–50 | Baritone/Bass-Baritone (F#2–F4) Charismatic, theatrical and larger-than-life. Ruth - Female | Playing Age 40–60 | Alto/Mezzo-Soprano (F3–A♭5) Fiercely devoted with bold comic energy. Major-General Stanley - Male | Playing Age 40–65 | Baritone/Tenor (B♭2–F4) Fast-talking, witty and absurdly confident. Sergeant of Police - Male | Playing Age 25–55 | Bass/Baritone (F2–C4) Deadpan and gloriously over-serious. Edith - Female | Playing Age 18–30 Confident and delightfully bossy. Kate - Female | Playing Age 18–30 Sweet, romantic and grounded. Isabel - Female | Playing Age 16–25 Bright, eager and energetic. Samuel - Male | Playing Age 20–40 | Baritone/Tenor (B♭2–E4) The Pirate King’s loyal right-hand man. Dancer Ensemble - Any Gender | Playing Age 16+ High-energy dancers with strong technique and stamina. General Ensemble - Any Gender | Playing Age 16+ Versatile performers portraying pirates, police and daughters throughout the production.

Title: Romeo & Juliet Presented By: Vox Theatre Arts Genre: Shakespeare / Tragedy Synopsis: Romeo & Juliet by William Shakespeare is reimagined by Vox Theatre within the stunning natural surrounds of the Forest Lake Amphitheatre this September. Inspired by the celestial beauty and grandeur of Roman mythology, this evocative retelling transforms Shakespeare’s timeless tragedy into a sweeping theatrical experience beneath the stars. Accompanied by an original score by Mark James, the production blends poetic language, dynamic storytelling and emotionally charged relationships with the thrill of live stage combat and swordplay. With a smaller, highly collaborative cast, performers are given rich and demanding acting opportunities driven by passion, connection and visceral storytelling as two young lovers fight for each other against the tides of fate, family and destiny. Audition Dates: June 19th - 21st, 2026 Audition Time: Acting Role Auditions June 20th & 21st: 9AM - 12PM Vocalist Auditions June 10th: 6PM - 8PM June 21st: 2PM - 4PM Audition Location and Address: Acting Auditions - Forest Lake Amphitheatre Vocalist Auditions - Upper Mt Gravatt State School Hall Audition Requirements: Acting Roles Attend one casting workshop and perform: Two contrasting Shakespearean/Renaissance monologues One dramatic and one comedic Maximum 2 minutes per piece Auditions include: Group movement and ensemble workshop Warm-up exercises Ensemble movement and response-to-direction activities Tips: Memorisation encouraged Outdoor performance requires strong vocal projection Passion, purpose and playfulness encouraged Singing Roles Prepare: One classical piece in your vocal range Maximum 1 minute 30 seconds One original piece by Mark James in your chosen vocal range Available vocal ranges: Soprano Mezzo Alto Tenor Baritone Bass Audition Registration: Complete the Audition Booking form to register. Audition Pack: Romeo & Juliet Audition Pack Performance Dates: September 17th - 26th, 2026 Performance Times: 7PM Performance Location: Forest Lake Amphitheatre Rehearsal Dates: Sunday June 28th - Meet & Greet / First Rehearsal Sunday July 5th - Stage Combat & Ensemble Workshop Sunday July 12th - Photo Shoot & Media Day Sunday June 28th - Thursday 17 September – Rehearsal Process Tuesday September 8th - Thursday September 17th - Tech & Dress Week Rehearsal Times: Rehearsals held Tuesdays, Thursdays and Sundays. Warnings: Stage combat and swordplay Onstage violence and death Intimacy/kissing scenes Outdoor performance conditions Performer Age: All performers must be 18 years or older by commencement of rehearsals. Creative Team: Director - Rhona Bechaz Assistant Director/Intimicay & Fight Coordinator - Dugald Lowis Composer/Musical Director - Mark James Stage Manager/Musical Director - Maddy Simons Production Website: Vox Theatre Arts - Romeo & Juliet Other Information: This is an amateur production - no roles are paid Vox Theatre strongly encourages performers from diverse backgrounds and experiences to audition Cast members missing more than three rehearsals without disclosed conflicts prior to casting may be replaced Full cast availability required for tech and dress week dates Available Roles / Character Breakdown: Juliet - Any Gender | Playing Age 15–22 Only child of Capulet. Forced toward marriage with Paris but falls deeply in love with Romeo. Intimacy/kiss with Romeo Onstage violence & death Capulet - Any Gender | Playing Age Late 20s–40s The fiery matriarch of House Capulet, constantly at odds with Montague. Onstage combat Angelica - Any Gender | Playing Age Late 20s–40s Juliet’s Nurse and second mother figure, balancing compassion and practicality. Potential intimacy/kiss with Tybalt Tybalt - Any Gender | Playing Age 20s–40s Passionate protector of House Capulet and skilled fighter. Potential intimacy/kiss with Angelica Onstage combat & death Sampson - Any Gender | Playing Age Late 18–30 Hot-headed Capulet servant who understudies Romeo. Onstage combat Gregory - Any Gender | Playing Age Late 18–30 Quick-witted Capulet servant who understudies Juliet. Onstage combat Romeo - Any Gender | Playing Age 16–25 Passionate and impulsive son of Montague whose love for Juliet drives the tragedy. Intimacy/kiss with Juliet Onstage violence & death Montague - Any Gender | Playing Age Late 20s–40s Concerned parent of Romeo seeking peace amid the family feud. Onstage combat Mercutio / Friar John - Any Gender | Playing Age 18–30 Witty and volatile friend of Romeo. Onstage combat & death Intimacy/kiss with Benvolio Benvolio - Any Gender | Playing Age 18–30 Romeo’s calm and peacekeeping cousin. Onstage combat Intimacy/kiss with Mercutio Abram - Any Gender | Playing Age 18–30 Montague servant who may play multiple roles. Onstage combat Balthasar - Any Gender | Playing Age 18–30 Romeo’s loyal servant who may play multiple roles. Onstage combat Paris / Prince Escalus / Peter - Any Gender | Playing Age 18–25 Potentially played by one actor. Paris hopes to marry Juliet; Prince Escalus attempts to maintain peace in Verona; Peter is a lively Capulet servant. Paris includes onstage combat & death

Title: Shrek the Musical Jr Presented By: Valmy Academy Genre: Musical Theatre Synopsis: Valmy Academy’s Holiday Productions are known across Brisbane for their supportive environment, high production value and strong sense of community, making them the perfect school holiday musical theatre experience for children and teens who love performing arts. Every registered participant performs in the production, with auditions designed to help determine where each young performer will shine brightest within the show. Audition Date: Saturday June 14th, 2026 Audition Time: 9:30AM - 12:30PM Audition Location and Address: Valmy Academy Studios, 127 Sandgate Road, Albion Audition Requirements: Lead and featured role auditions require - A 1-minute musical theatre song A 1-minute monologue Song requirements - Songs must not be from Shrek No acapella singing No singing over vocals in backing tracks Backing tracks may be played from YouTube if performers know the exact timestamp and section required Ensemble performers do not need to prepare a solo audition. Audition Registration: Participants must be officially registered for the Holiday Production before attending auditions. Register HERE. Audition Pack: Monologue sides available HERE. Performance Dates: Friday July 4th, 2026 Performance Location: Valmy Academy Studios, 127 Sandgate Road, Albion Workshop/Rehearsal Dates: June 29th - July 4th, 2026 Rehearsal Location: Valmy Academy Studios, 127 Sandgate Road, Albion Performer Age: Prep - Grade 12 students Production Website: Valmy Academy - Shrek the Musical Jr Other Information: Every registered participant performs in the production Auditions are intended to be supportive, low-pressure and confidence-building Full refunds are available prior to cast lists being announced Once cast lists are released, workshop fees become non-refundable Ensemble performers are fully included in the rehearsal process and live performances Workshop fee includes; Full week musical theatre rehearsal process Two live theatre performances Professional rehearsal direction Singing, acting and dance training Costumes and production elements Professional theatre venue experience Performance opportunities for every participant Cast bonding and team-building experience Professional production environment A safe, inclusive and supportive creative community A souvenir production t-shirt Professional filmed show video and production photos A production script for each participant Available Roles / Character Breakdown: Principal Characters - Shrek Fiona Donkey Lord Farquaad Dragon Gingy Pinocchio Young Fiona Teen Fiona Ensemble Performers - Ensemble performers are fully included in both rehearsals and live performances. No solo audition preparation is required.

Title: Camp Legends Presented By: Fame Performing Arts Genre: Musical Theatre Workshop Synopsis: This could be the mischievous show you have been waiting to experience in the upcoming school holidays. Our workshops are open to current Fame students and new-to-Fame students who would like to experience the world of Musical Theatre. Young performers aged 6–15 are invited to hone their singing, acting and dancing skills while working on a Fame original adaptation featuring some of your favourite legendary moments, songs and characters. Participants will spend five action-packed days from 9:00 am – 3:00 pm developing their performance skills under the guidance of our expert creative team, culminating in an unforgettable performance. Audition Date: June 13th, 2026 Audition Time: 1:30PM - 3:30PM Audition Location and Address: Fame Studios, 6/43 Lang Parade, Milton Audition Requirements: Not specified Audition Registration: Book your workshop spot HERE Performance Dates: July 3rd, 2026 Performance Times: 5PM & 6:30PM Performance Location: Hamilton Hall, 36 Racecourse Road (corner of Rossiter Parade), Hamilton Qld 4110 Rehearsal Dates: June 29th - July 3rd, 2026 Rehearsal Times: 9AM - 3PM Rehearsal Location: Fame Studios, 6/43 Lang Parade, Milton Performer Age: 6–15 years Creative Team: Fame Creative Team Production Website: Fame Performing Arts - Camp Legends Other Information: Workshop fee: $495 inc GST. Includes audition day, costumes and pizza party. Additional supervision from 3:00 pm – 5:00 pm available for $16.50 per day inc GST. Open to current Fame students and new-to-Fame students. Available Roles / Character Breakdown: Participants will perform in a Fame original adaptation featuring legendary musical theatre moments, songs and characters. Specific roles not specified.