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Title:  Grand Horizons Presented By:  Nash Theatre Genre:  Contemporary Comedy Synopsis: Fifty years into her marriage to Bill, Nancy unexpectedly announces that she wants a divorce. While Bill appears unfazed, their two adult sons are shaken to their core, forced to confront everything they believed about their parents' seemingly happy lives. As the family navigates this seismic shift, each member must reckon with their own imperfect past and discover new, unexpected ways to express love. Audition Date:  Sunday, 23 February 2025 Audition Time:  2:00 PM Audition Location and Address: New Farm Nash Theatre Play Shed, 4 Amity Street, New Farm Audition Requirements: Cold read of excerpts from the script Good comedic timing Must be capable of playing above your age Available Roles: Nancy (70+ years) Bill (70+ years) Ben (Son, 40-45 years) Brian (Son, 35-40 years) Jess (Daughter-in-law, 30-35 years) Tommy (One-night stand, 25-30 years) Carla (Girlfriend, 65-70 years) Performance Dates:  9-31 May 2025 Performance Location: The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm Production Website:   Nash Theatre Website Other Information: For additional enquiries, contact Director Phil Carney at 0418 719 300.

Title:  The Trail to Oregon! Presented By:  Emma Hanson Genre:  Musical Comedy Synopsis: Join an all-American family as they embark on a journey down The Oregon Trail. Full of hilarity, historical figures, and unexpected twists, The Trail to Oregon!  is a delightfully irreverent musical featuring educational songs and a historically accurate portrayal of the iconic trail adventure. Audition Dates: 27 March 2025 (Individual Auditions) 28 March 2025 (Individual Auditions & Dance Call at 3:30pm) 29 March 2025 (Individual Auditions & Dance Call at 3:30pm) 31 March 2025 (Callbacks) Audition Time:  15-minute individual sessions and a group dance call from 3:30 pm to 5:00 pm Audition Location and Address: Backbone, 28 Tallowwood Street, Seven Hills, QLD Audition Registration:   Click Here to Book Audition Audition Pack:   Monologues & Resources Audition Requirements: Individual Auditions:  Prepare two songs (one musical theatre piece, preferably contemporary/modern, and one that highlights your comedic ability). Bring a CV and headshot. Participate in cold reads and improv exercises. Bring a backing track on a device compatible with Bluetooth or AUX. If your phone requires an adapter, please bring it along. Group Dance Call: Learn choreography for " Gone to Oregon " (mandatory) and " Speedrun " (optional but encouraged) from the provided video resources. Wear appropriate dance attire and shoes. Monologue Requirement:  Select one from the provided document for acting. Available Roles: Father:  Tenor, presenting as male. Overconfident and cheerful leader. Mother:  Alto, presenting as female. Nurturing figure with a sassy side. Daughter:  Mezzo-Soprano, presenting as female. Rebellious teenager. Son:  Mezzo-Soprano, presenting as any gender. Ditzy 7-year-old with a curious spirit. Grandpa/Cletus Jones:  Baritone with strong falsetto and country twang, presenting as male. Unhinged old man and dedicated bandit accomplice. The Bandit King ‘McDoon’:  Baritone, presenting as any gender. Obliviously evil, gruff, and open about his sexuality. Ensemble Track (GENERAL STORE GUY, HORNY OX, LOBSTER):  Baritone, presenting as any gender. Versatile performer for comedic roles. Performance Dates: Preview:  26 June 2025 (Matinee - Relaxed Performance) Show Dates:  26-28 June 2025 Performance Times: Thursday: 7:00 pm Friday/Saturday: 1:00 pm & 7:00 pm Performance Location:  BackDock Arts, 103 Brunswick St, Fortitude Valley, QLD 4006 Rehearsal Dates:  From 5 May 2025 Rehearsal Times: Mondays & Thursdays 4:00 pm - 9:00 pm Sat 14 June (Rehearsal & Headshots) Recommended Age:  Open to 16+ Creative Team:  Directed by Emma Hanson Production Website:   Emma Hanson Website Other Information:  Not all performers will be required at every rehearsal. Schedules will be designed to minimise time commitment. Please provide any personal or work-related conflicts in your audition application. If you have any questions or concerns about dates or requirements, please get in touch via Emma Hanson's website.

Title:   Elvis Has Left the Building Presented By:  Village Green Theatre Group Genre:  Comedy Synopsis: It's December 20th, 1970, and Elvis Presley has vanished. Even his wily manager, "The Colonel," has no clue where he is. Desperate to pay off a secret debt, the Colonel embarks on a frantic quest to find an Elvis impersonator within 24 hours. Chaos, comedy, and mistaken identities ensue as the Colonel tries to pull off the impossible while dodging a nosy reporter and figuring out what happened to the real King of Rock and Roll. Audition Details: Audition Date:  Sunday 6th April 2025 Audition Time:  12:00 pm - 3:00 pm (all auditionees must remain for the full 3 hours) Audition Location and Address:  Performing Arts Centre (PAC) of Yarrabilba State Secondary College Audition Requirements: Group auditions with script excerpts provided for character interactions. Roscoe  must prepare and perform an upbeat Elvis song of their choosing. Register for Your Audition Download Audition Pack Available Roles: The Colonel  (Male, 40 - 60) – Elvis’ Manager: An older gentleman with a big personality who is charming and cunning. American southern accent required. Lead role on stage for most of the play. Trudy  (Female, 30 - 45) – The Colonel's German Secretary: Highly capable, speaks with a German accent, and requires great comic timing. Roscoe / Elvis  (Male, 20 - 25): A nerdish office worker hypnotised by the Colonel into believing he is Elvis and occasionally a dog. Requires excellent comic timing and the ability to switch between multiple personas. Must lip-sync a medley of Elvis songs. Candy / Elvis  (Male, 30 - 45): A friend of the Colonel hypnotised into believing he is Elvis. Must switch between characters quickly. Opens the play dressed as Elvis. Jill Tanner  (Female, 20 - 30): A determined, nosy newspaper reporter seeking a big "Elvis" scoop. Performance Dates and Times: Friday 4th July at 7:30 pm Saturday 5th July at 2:00 pm & 7:30 pm Friday 11th July at 7:30 pm Saturday 12th July at 2:00 pm & 7:30 pm Performance Location:  Performing Arts Centre, Yarrabilba State Secondary College Rehearsal Dates: Tuesday and Thursday evenings: 7:30 pm - 9:30 pm Sundays: 12:00 pm - 4:00 pm Creative Team: Director: Nicolette McMahon Stage Manager: Stephen Morris Set/Technical Design: Stephen Morris Lighting: Andrew Swansson Production Website:   VGTG Auditions Page Other Information: Successful cast members must become members of Village Green Theatre Group at a cost of $25 per adult. Membership includes Public Liability Insurance. Parking available near the Sports Hall.

Title:  Eurobeat: Moldova 2025 Presented By:  KSP Theatre Genre:  Interactive Musical Comedy Synopsis: Welcome to Moldova, a proud but small Eastern European country defying all odds (and common sense) to host this year’s Eurovision Song Contest. As ten nations battle it out for the ultimate prize, the host nation promises a spectacular and hilarious entertainment extravaganza. With audience votes deciding the winner, Eurobeat: Moldova  delivers thrilling new songs, show-stopping numbers, and irresistible fun, capturing the chaos and glitz of Eurovision. Audition Date:  Sunday, 2nd March 2025 Audition Time:  6:00 pm Audition Location and Address:  KSP Theatre Audition Requirements: Vocal roles: Perform a song from the real Eurovision, focusing on performance as well as vocals. Costumes and dance routines are encouraged. Please bring backing tracks on a phone, iPad, or tablet for Bluetooth connection. Dance roles: A prepared dance number will be taught during the audition to assess movement capabilities. All cast members will be required to do some dancing. Available Roles: Contestants from Sweden, Ireland, Morocco, Spain, UK, Italy, Poland, Vatican City, Norway, and the Netherlands MC and Assistant roles Audition Registration:   Register Here Audition Pack:   View Here Performance Dates: Friday 16th May 2025 at 7:30 pm Saturday 17th May 2025 at 7:30 pm Sunday 18th May 2025 at 2:30 pm Friday 23rd May 2025 at 7:30 pm Saturday 24th May 2025 at 7:30 pm Sunday 25th May 2025 at 2:30 pm Friday 30th May 2025 at 7:30 pm Saturday 31st May 2025 at 7:30 pm Performance Location:  KSP Theatre Rehearsal Dates: Tuesdays: 7:15 pm - 10:30 pm Thursdays: 7:15 pm - 10:30 pm Sundays: 4:00 pm - 9:00 pm Rehearsal times are subject to change based on the schedule. Creative Team: Director/Producer: Janelle Kerr Choreographers: Alarna Harris & Chantelle Currie (with the possibility of a Special Guest Choreographer) Technical Co-ordinator: Russell Jensen Other Information: Must be aged 16 or above to audition Must become a financial member of KSP Theatre ($10 per person for this production) This is a vocally and visually demanding show requiring commitment and hard work. For questions or concerns, please contact Janelle at ksptheatreinc@gmail.com

Title:  The Addams Family Presented By:  Toowoomba Choral Society Genre:  Musical Theatre Synopsis: Wednesday Addams, the ultimate princess of darkness, has fallen in love with a sweet, intelligent young man from a respectable family—a man her parents have never met. When Wednesday confides in her father, Gomez, and pleads with him to keep the secret from her mother, Morticia, chaos ensues. The Addams family’s world turns upside down on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. Audition Dates: Audition Registration by 3 March 2025 Auditions: Friday 28 March 2025 (Toowoomba Show Holiday) Auditions: Saturday 29 March 2025 Audition Time:  Allocated one-hour sessions Audition Location and Address:  Toowoomba Anglican School, 2 Campbell St, East Toowoomba Audition Pack:   Download Here Audition Registration: Click here Audition Requirements: Song:  Prepare one song (up to two minutes) in a music theatre style (not from the show). Bring a professional backing track or use the show accompanist (details required in the audition form). Dialogue:  Familiarise yourself with at least two script excerpts provided in the audition pack. Group Harmony:  "When You’re An Addams" (sheet music included in the audition pack). Group Movement:  Choreography will be taught on the day. Wear appropriate clothes and shoes for dancing. Available Roles: Gomez Addams (Lead, Male, Stage Age 35–55, Vocal Range: Bb2–G4) Morticia Addams (Lead, Female, Stage Age 35–55, Vocal Range: G3–Bb5) Wednesday Addams (Lead, Female, Stage Age 18–26, Vocal Range: A3–E5) Fester Addams (Lead, Male, Stage Age 30–50, Vocal Range: C3–G4 (optional C5) Pugsley Addams (Minor, Male, Stage Age 14–20, Vocal Range: A3–F5) Grandma Addams (Minor, Female, Stage Age 102, Vocal Range: G4–F5) Lurch (Minor, Male, Stage Age 25–50, Vocal Range: Eb2–E4) Lucas Beineke (Minor, Male, Stage Age 18–26, Vocal Range: C3–C5) Alice Beineke (Minor, Female, Stage Age 35–55, Vocal Range: Ab3–G#5) Mal Beineke (Minor, Male, Stage Age 35–55, Vocal Range: C3–A4) Addams Ancestors (Ensemble, Any Gender, Age 16+, All Vocal Ranges) Backstage Singers (Any Gender, Age 16+, All Vocal Ranges) Performance Dates:  21-23 August 2025 Performance Times: Thursday 21 August at 7:30 pm Friday 22 August at 7:30 pm Saturday 23 August at 2:00 pm and 7:30 pm Performance Location:  Empire Theatre, Toowoomba Rehearsal Dates:  Beginning Monday 12 May 2025 Rehearsal Times: Mondays and Thursdays (Evening) Sundays (Full Day) Recommended Age:  16+ (Applicants aged 15 and under may audition at the creative team's discretion) Crew:  Opportunities for set construction, painting, costumes, props, and crew support. Interested volunteers may email production@tcschoral.com.au . Production Website:   Toowoomba Choral Society Other Information: Membership is required to participate in the production ($280 for adults, $270 for concessions/students, or $200 for current 2025 members). Fees are due before the Meet & Greet on Sunday 27 April 2025. Orchestra members are welcome to send an EOI to production@tcschoral.com.au .

Title:  Come From Away Presented By:  Savoyards Musical Comedy Society Inc. Genre:  Musical Theatre Synopsis: Come from Away is based on the true story of when the isolated community of Gander, Newfoundland, hosted the world in the aftermath of September 11, 2001. What started as an ordinary day transformed into an international sleepover when 38 planes, carrying thousands of passengers, were diverted to Gander. The locals opened their hearts with music, hospitality, and compassion, fostering a global sense of family in a time of uncertainty and fear. Audition Dates: Friday 14th March 2025:  7 pm – 10 pm Saturday 15th March 2025:  9 am – 5 pm Sunday 16th March 2025:  9 am – 5 pm Monday 17th March 2025:  7 pm – 10 pm Friday 21st March 2025:  7 pm – 10 pm Saturday 22nd March 2025:  9 am – 5 pm Sunday 23rd March 2025:  9 am – 5 pm Monday 24th March 2025:  7 pm – 10 pm Audition Location and Address: Savoyards Hall, Ferguson Street, Manly Call Backs:  Wednesday, 26th March 2025, 7 pm – 10 pm at Wynnum State High School, Peel Street, Manly Audition Requirements: Song:  Prepare two 60-second song excerpts demonstrating belt and upper mix voice in a contemporary, naturalistic style. Avoid operatic, folk, or rock songs and songs from the show. Monologues:  Prepare two contrasting 45-60 second contemporary monologues in different accents. Accompaniment:  Accompanist available on Saturday 22nd March (9 am – 12:30 pm). Bring sheet music if using the accompanist or backing tracks on an aux cable-ready device. Other Requirements: Colour headshot (minimum size 10cm x 15cm) Completed audition form with all scheduling clashes There is no movement component during this audition Audition Registration: Using the audition pack template, email auditions@savoyards.com.au  with your name, mobile number, desired track(s), and whether you require an accompanist. Audition Pack:   Click here for the audition pack Performance Dates: Friday, 20th June 2025 @7:30 pm (Final Dress Rehearsal) Saturday, 21st June 2025 @7:30 pm Sunday, 22nd June 2025 @1:30 pm Saturday, 28th June 2025 @1:30 pm Saturday, 28th June 2025 @7:30 pm Sunday, 29th June 2025 @1:30 pm Saturday, 5th July 2025 @1:30 pm Saturday, 5th July 2025 @7:30 pm Performance Location:  Iona Performing Arts Centre, 85 North Road, Wynnum West QLD Rehearsal Dates:  Starting Sunday, 30th March 2025 Rehearsal Times: Sundays 12 pm - 5 pm Mondays 7 pm - 10 pm Wednesdays 7 pm - 10 pm Rehearsal Locations: Wynnum State High School, 25 Peel Street, Wynnum QLD Savoyards Hall, 11 Ferguson Street, Manly QLD Important Dates: Launch Event:  Sunday, 27th April 2025 (All cast required) Sitzprobe:  Sunday, 1st June 2025 Bump-in:  Friday, 6th June & Saturday, 7th June 2025 Bump-out:  Sunday, 6th July 2025 Required Age:  18+ Creative Team: Director: Andrew Cockroft-Penman Musical Director: Steven Days Choreographer/Assistant Director: Kaitlin Hague Other Information: Savoyards celebrates diversity and welcomes individuals of all backgrounds, identities, and abilities to audition. Inclusive casting and representation are central to this production. Successful auditionees will receive a phone call, while others will be contacted via email. A social media blackout is required for successful cast members until advised by the marketing team. Production Website:   Savoyards Musical Comedy Society Character Breakdowns: Diane (Track 1) A reserved, Texan divorcee is deeply worried about her son, who she fears may have been flying at the time of the attacks. Upon learning he is safe, she experiences a new outlook on life and unexpectedly finds romance with Nick. Secondary Roles: Crystal, Brenda Stage Age: 50s-60s Vocal Type: Warm, natural contemporary soprano with a strong mix up to D5 Hannah (Track 2) The mother of a Manhattan firefighter who waits in agony for news about her son amidst the chaos of 9/11. Secondary Roles: Margie, Mickey, Party Girl Stage Age: 40s-60s Vocal Type: Contemporary soprano with a strong pop belt and mix up to E5 Janice (Track 3) An eager and enthusiastic young local TV reporter who is thrown into her first major story on the day of the attacks. Secondary Roles: Flight Attendant, Britney, Party Girl Stage Age: 20s Vocal Type: Mezzo with a strong pop belt and mix up to E5 Beulah (Track 4) The kind-hearted head of the Gander Legion who is a maternal figure with a strong moral compass. Secondary Roles: Delores, Customs Officer Stage Age: 40s-60s Vocal Type: Alto with belt up to B4 Bonnie (Track 5) A determined and no-nonsense mother of three who is the head of the Gander SPCA. Fiercely protective and resourceful, she stops at nothing to rescue the animals stranded on the planes. Secondary Roles: Martha Stage Age: 30s-40s Vocal Type: Mezzo with belt up to B4 Beverley (Track 6) The first female captain for American Airlines who is a trailblazer with an unshakable passion for flying. Secondary Roles: Annette Stage Age: 40s-50s Vocal Type: Contemporary soprano with an easy mixed or belted C#5 Oz (Track 7) A quirky and endearing constable in Gander's two-person police force who rises to the challenge when the town's population suddenly doubles. Secondary Roles: Joey, Customs Officer, Mr. Michaels, Terry, Matty, Rabbi, Head Cardiologist Stage Age: 30s-50s Vocal Type: Strong contemporary tenor up to G4 Kevin T (Track 8) A driven environmental energy company executive from Los Angeles, Kevin T is on holiday with his boyfriend Kevin J when they are stranded in Gander. Secondary Roles: Garth, President Bush Stage Age: 30s-40s Vocal Type: Strong contemporary tenor up to G4 Kevin J (Track 9) Kevin T's boyfriend and secretary, Kevin J is initially sarcastic and bitter about being stranded in Gander. His character arc reveals a deeper sense of vulnerability and reluctant admiration for the town's generosity. Secondary Roles: Ali, Dwight Stage Age: 30s-40s Vocal Type: Tenor or baritenor Bob (Track 10) A hardened New Yorker who arrives in Gander suspicious and fearful, expecting chaos and crime. Instead, he experiences genuine kindness, leading him to shed his jaded outlook and embrace the unexpected beauty of community. Secondary Roles: Muhumuza, Captain Bristol Stage Age: 20s-40s Vocal Type: Strong contemporary baritone Claude (Track 11) The charismatic and beloved Mayor of Gander who is the heart and soul of the town's response efforts. Secondary Roles: Derm, Brenda’s Brother, Eddie Stage Age: 40s-60s Vocal Type: Gruff, natural-sounding baritenor with a strong G4 Nick (Track 12) A focused and reserved English oil engineer who's world is upended when he meets Diane. Their unexpected romance blossoms amidst the chaos, offering a touching testament to love's ability to thrive in unlikely circumstances. Secondary Roles: Doug, Male Townsperson Stage Age: 50s-60s Vocal Type: Warm, natural baritone or baritenor with an easy E4 and strong pop sensibility

Blanc de Blanc Encore Pops Its Cork in Brisbane! When you think of ' Blanc de Blanc Encore' , envision champagne-soaked decadence with a cheeky wink and a whole lot of jaw-dropping spectacle. This dazzling cabaret-circus show has toured Australia and beyond, and now it’s back in Brisbane at the spanking new West End Electric. Buckle up for a night that will leave you breathless, exhilarated, and possibly in need of a cold shower.   VIP night kicked off in style with a full house dressed in their finest white-and-sparkle attire. Yours truly even rocked a literal wedding dress — why not, right? With complimentary champagne flowing and an electric atmosphere buzzing through the venue, it was clear we were in for a wild night.   Opening with a dazzling magic act involving a disco ball illusion—a mesmerising start to an evening of unrelenting entertainment. The show dives straight into the land of risqué business right from the start—get ready for some, burlesque, and plenty of provocative moments to make you blush. If you are considering attending (and you absolutely should), I strong suggest sitting in the front row or on an aisle for the best chance to be fully immersed in the spectacle. Co-hosts Rémi Martin and Félix Pouliot are the dynamic duo who both keep the chaos in check and let it run wild. With their French humour, cheeky banter, and the occasional dash of nudity, they had the audience in stitches. As acrobats too, they didn’t just host; they owned  the stage with dazzling pole routines. The cast shines as a cohesive ensemble, with their cleverly choreographed routine with towels and a playful pillow fight segment bringing heaps of fun and energy to the stage. Other highlights include: Jess Mews’ Hula Hoop Magic:  Spinning eight hoops at once to the French version of ' A Little Party Never Killed Nobody?'  Iconic. Sasha Lee Saunders’ Vocals:  Her rendition of ' I Put a Spell on You'  was absolutely spellbinding, and a jazzed-up version of ' We Can't Stop' was equally captivating. The Grape Act:  Audience participation at its finest—just be sure to practise your underarm throws and brace yourself if you’re easily grossed out! Filthy Maid Routine:  The cast don French maid outfits, spray Windex on the audience, and have the time of their lives. Experimental Dance:  Misha Makarov’s contortions had the audience gagging in shock—it was boundary-pushing, traumatising, and unforgettable. Pole Dancing Phenomenon: Félix showcased superhuman core strength, while Rémi’s bendy pole act had him swaying over the audience.   Of course, no Parisian-inspired show would be complete without the iconic ' Non, je ne regrette rien' . Rémi’s audacious twist on the song had the audience literally howling with laughter—a testament to his sheer confidence to use a certain piece of his anatomy in the act. It takes a bold performer to pull that off, and Rémi does it with panache. We get the legendary ' Can-Can ' song and dance of course and Gershwin’s ' Rhapsody in Blue' is also reimagined in a way you won't forget—let's just say that Sasha's graces the stage in a flowing gown that whispers sophistication, only to shatter expectations with a deliciously unexpected twist.   The undeniable highlight for me was the breathtaking hoop act duet between Spencer Craig and Caitlin Tomson-Moylan. Perfectly placed as the show's grand finale, they move in perfect synchronisation, effortlessly transitioning from one intricate pose to the next in the blink of an eye. The speed, grace, and seamless connection between them are completely mesmerising. The music is an absolute standout. From sultry live performances to party anthems, I’m pretty sure I need this entire playlist. The Moulin Rouge and Gatsby-esque vibes, combined with modern elements, maintained the increasing energy. The breathtaking costume designs established a glamorous, yet sensual atmosphere for the evening. A big shoutout to the cast, who are not only incredibly talented but also exceptionally beautiful. Special recognition goes to the charming Félix with his irresistible stage presence and adorable dimples, and to Alex, an audience member who stole the spotlight for a brief time—both Rémi and Félix were smitten with him!   'Blanc de Blanc Encore'  is provocative, classy (usually), and completely in your face. Champagne flows (literally), bubbles pop (literally), and feathers soar (literally), allowing the audience to forget their troubles for a few hours. It’s daring, indulgent, and beyond captivating. A heartfelt thank you for the tickets — my guests and I had the absolute time of our lives, and this show is one I’ll be raving about for quite some time! Tickets available here

Take Your Crowning Glory: A Regal Rave for 'Six the Musical' Divorced. Beheaded. Live on stage in Brisbane—' Six the Musical' has returned, and it's got more sparkle, sass, and sisterhood than you could ever want from a night at the theatre. It’s not every day you get the privilege of watching Henry VIII's wives reclaim their stories in dazzling pop-diva style, but that’s exactly what you get at Six ; now playing at QPAC’s Playhouse until February 9th. I was lucky enough to attend the opening night and have already booked to come again! After performing in Brisbane just two years ago, we are treated to two of the original members returning.   For those living under a rock, this musical is a pop-fuelled history lesson reimagined as a concert, where King Henry VIII’s six wives take centre stage to tell their stories. It’s fierce, funny, and unapologetically feminist. Introducing themselves through one of the BEST opening tunes in the musical theatre world, ' Ex-Wives', each Queen competes to convince us, the audience, that her experience being married to history’s infamous Tudor tyrant was the worst. What follows is a high-energy, 90-minute extravaganza packed with unforgettable songs, jaw-dropping choreography, and dazzling costumes.   Let’s break down the fabulousness, shall we? Kimberley Hodgson kicks things off as the indomitable Catherine of Aragon, delivering the fiery Beyoncé-inspired opening number 'No Way.' With commanding characterisation and powerhouse vocals, she sets the tone for the show, demanding respect as Henry’s longest-reigning wife. Hodgson is absolutely fierce, and doesn’t miss a beat—even after an intense opening group number. Anne Boleyn, played by Deirdre Khoo, is a comedic standout. Clad in green and armed with deadpan delivery, she’s the cheeky queen who turns her tragic beheading into comedic gold. Her song 'Don't Lose Ur Head' is a pop-rock banger brimming with playful sass and guillotine-sharp wit. Loren Hunter reprises her role as the gentle yet strong Jane Seymour. Her moving ballad ' Heart of Stone' evokes the emotional power of Adele's soul-stirring anthems and packs an emotional punch. Hunter infuses Jane's tragic tale with sincerity and depth, making it impossible not to feel a pang of sadness for the queen who died too soon. Having portrayed this character for years, it's clear Hunter cherishes the role. Her skill in tapping into that raw emotion every performance is truly admirable—and she even delivers dad jokes! Following that is the electrifying 'Haus of Holbein,' a lively and neon-lit group number illustrating how Henry selected his fourth wife. Chiara Assetta (Dance Captain/Swing) takes on the role of Anne of Cleves, and she is a revelation. Her number 'Get Down' is a funky, Rihanna-infused showstopper that celebrates Cleves’ post-divorce glow-up. Assetta infuses the role with goofy humour and a sly wink, cementing her place as a front runner for this reviewer.   My personal favourite though? Katherine Howard, reprised by Brisbane’s own Chelsea Dawson. In her hot pink ensemble, Dawson delivers the evening's most lengthy and emotionally intense performance. Her Ariana/Britney-style solo 'All You Wanna Do' is a pop masterpiece that starts flirty and carefree but takes a dark turn through subtle shifts. Dawson masterfully navigates this emotional journey, embodying the vulnerability of a young woman who was exploited and ultimately condemned. Dawson is a powerhouse of endurance and emotion, and I simply can’t imagine anyone else in the role now.   Finally, Giorgia Kennedy brings the story home as Catherine Parr. Her soulful number 'I Don’t Need Your Love' flips the script, turning tragedy into triumph through her powerful declaration of independence and strength. Kennedy brings grace and warmth to the role, delivering a stunning vocal display and a monologue that highlights Parr’s resilience and intellect. The connection among these queens is extraordinary, a quality I've noticed missing in other small-cast musicals. They support one another with flawless harmonies, expertly polished choreography, and plenty of playful banter. The ladies-in-waiting—aka the incredible onstage band—are equally fierce, propelling the show’s unstoppable rhythm and adding to the girl-power. Beyond the powerhouse performances, the technical elements are a visual feast. The lighting is spectacular. The costumes are pure perfection—glittering, distinctive, and totally iconic. And the incredible wigs and headpieces stay flawless through all the vigorous choreography. A distinctive feature of this production is the use of handheld mics, which the Queens tuck into their costumes when it's time to bust a move.   If you can, I highly recommend snagging seats in the front rows so the Queens can see your face as you cheer them on! The Queens love engaging with the audience, and it’s a thrill to feel like you’re part of the action. I’ve sat in various spots and can confirm: no seat is a bad seat when these Queens are slaying the stage. They even get the entire audience on their feet for the final number. My first experience was front row on the far left, and it didn’t matter that I wasn’t in the centre—the Queens perform to every side. My second time was in the fourth row, dead centre, and I hope they saw my beaming face! This Friday I’ll be in the balcony wheelchair area, bringing as much excitement as ever!   Six the Musical is camp, clever, and absolutely unmissable. Its fusion of pop music genres, historical narrative, and outstanding performances makes it one of the most unique and empowering theatre experiences out there. So, what are you waiting for? Grab your crown, bring your energy, and get ready to be rocked by these spectacular Queens. Photography by James D Morgan Tickets available here

When I told my housemates I was heading out to see ' Evil Dead: The Musical' , their response was basically, "Wut?" To be fair, they’re not exactly theatre people. But I also had no clue what to expect... My favourite kind of show...   Ghostlight Theatre Co. has unleashed a blood-soaked, horror-comedy extravaganza with the Queensland premiere of ' Evil Dead: The Musical' . If you are expecting a night of serious, traditional theatre, think again. This show is chaotic, campy, and gloriously gory—a love letter to B-grade horror flicks and cult musical classics—and it absolutely delivers. If you haven't seen the films based on Sam Raimi’s 1980s ' Evil Dead' series, don't worry, you can skip the popcorn and the couch (I did). The musical adaptation packs in all the essential stuff: a cabin in the woods, college kids making increasingly poor decisions, demonic possession, and enough fake blood to fill a bathtub. Directed by Yasmin Elahi and Benjamin Oxley, this immersive show takes place at the spook-tacular EvilCorp Horror Maze and Bar, where even the drinks menu is themed. Just remember to shield your drink when the blood starts spurting—sometimes from the actors' mouths! The intimate venue holds about 30 brave souls, placing the audience so close to the action that the entire theatre becomes a splatter zone. (Pro tip: wear black or grab a poncho. Seriously, no seat is safe. It’s a bloodbath in Act Two!) The production team makes fantastic use of the limited space, with set designer Tamzen Hunter transforming the stage into a small-but-spooky cabin in the woods that feels like it’s closing in on you. The props, also by Hunter, are a brilliant collection of horror movie tropes, from the chained-up cellar stocked with creepy artefacts, to a suspicious moose head trophy on the wall that somehow manages to be both unnervingly creepy and absurdly comical. Oh, and in case you forgot you were in a possessed cabin, the walls have moving items, of course. Special effects designer Ali Morgan delivers a buffet of grotesque gory surprises. The attention to detail is excellent—the directors must’ve held countless production meetings to get every moment, splatter, and scream just right. The cast fully commit to the madness and deliver performances that are fearless and ridiculously self-aware. Patrick ‘Az’ James shines as Ash, the reluctant hero with a chainsaw for a hand. His voice channels the same bravado as Brad in ' The Rocky Horror Picture Show ', his vocals are to die for, and he nails the perfect blend of charm and bewilderment, using his expressive eyes to convey every emotion. When a prop went rogue, his improv skills were top-notch, making the whole thing even funnier and cranking up the parody factor to eleven. Adam Goodall is delightfully obnoxious as Scotty, Ash’s slacker best friend, flaunting his killer vocals and comedic timing. I couldn't get enough of his tango-inspired duet with Ash after they first encounter a demon— 'What the F*** Was That' —a perfectly reasonable reaction to being ambushed by their demonic friends. Zara Lassey completely steals the show as Cheryl, Ash’s little sister who is the first to get possessed by demonic forces. Her transformation from a timid, scared sibling to a foul-mouthed demon is both hilarious and impressive. I can only imagine the toll her vocal cords must’ve taken after all the horror-movie screaming and gravelly demonic taunts; not to mention her hair getting bigger and crazier with each scene—talk about a hair-raising experience! But let's not overlook her beautiful voice—really shining in the brief yet mighty solo, 'It Won’t Let Us Leave,' and soaring above the rest in the final group ensemble numbers. Isabel Kraemer nails the hilarious 'Housewares Employee' duet, perfectly capturing the absurdity of romanticising falling for someone you work with. Alongside Ash, the dance moves and chemistry are a riot, with impressive lifts that enhance the comedic brilliance. Isabel Kraemer as Linda and Julianne Clinch as Shelley put their all into 'Look Who’s Evil Now,' confronting Ash with both menace and absurdity. These two bring full energy—no holding back! Ariel Franzmann, joining the plot late as Annie (from Evil Dead 2 ), is a standout of comedic timing and exaggerated antics. Her rendition of 'All the Men in My Life Keep Getting Killed by Candarian Demons' had the audience howling. No notes here—she was flawless! Skye Schultz as Ed delivers a charming performance, especially in the adorable 'Bit-Part Demon' number, where their stunning vocals animate a character who’s passive in both life and death. And, of course, we can’t forget the ever-reliable Jake, played by Oliver Catton. He's got that rough 'trucker' persona, complete with an epic solo and a stash of props that just keep appearing out of his costume—like a magician’s hanky, but for a demon-slaying trucker. The score is packed with catchy numbers, kicking off with ' Cabin in the Woods '; an upbeat, fun-filled adventure that sets the stage for the chaos to come. I loved the tongue-in-cheek energy where both the audience and the actors knew what was coming, but the characters remained blissfully unaware of their impending doom. The ending of that number is stellar, with overlaid vocals as the five college students meander around the stage, each belting out their own tune like a musical game of Twister. Hats off to Musical Director Benjamin Oxley! The cast handles the demanding vocals and choreography with impressive stamina, particularly in the four  final group numbers. ' Do the Necronomicon ' kicks off the finale with crazy choreography, and the energy just keeps ramping up from there until 'Blew That B*tch Away.' Tayla Simpson’s choreography is dynamic and high-energy, keeping the actors moving fluidly despite the ever-present puddles of fake blood. Michelle Radu’s fight choreography is particularly impressive, delivering moments that are chaotic yet well-executed—especially in the 'It’s Time' sequence. I was frantically ducking from blood spurts while trying to take in all the carnage unfolding before me. The directors, dressed in their pristine white outfits and seated in the front row for media night, walked out drenched in red—a perfect testament to their total commitment to the show’s messy, immersive nature. The clever integration of costumes and practical effects elevates the production, with spurting blood tubes, severed limbs, and visual gags that keep the audience on edge. The costumes start as quintessential ‘80s-inspired spring break outfits that evolve (or should I say devolve ) into shredded, blood-soaked chaos. Special mention to Annie's epic quick-change costume, the demonic masks, the long-fingered gloves, and hilarious tree costumes (you'll see). Shoutout to the lighting design too, which amps up the tension with eerie glows, strobe flashes, and dramatic spotlight moments that perfectly highlight all the blood-soaked chaos. The audience was cackling throughout the show; although some of that laughter was definitely nervous—especially from those seated in the far-left front row near the cellar. If you easily get the heebie-jeebies, sit in the back. But honestly, this is a parody—so toughen up and embrace the madness! 'Evil Dead: The Musical' is a gutsy, hilarious, and thoroughly entertaining production that hits every mark. The fight choreography is exhausting to watch, the special effects are top-notch, and the cast’s energy never falters. Ghostlight Theatre Co. has thought of everything, creating a parody that lovingly pays homage to the horror genre without crossing into cringe territory. If you’re lucky enough to have snagged a ticket to this sold-out show, prepare to laugh, scream, and leave with splatters of fake blood. Brisbane has never seen anything quite like it.

A Rock 'n' Roll Nostalgia Ride Presented by Mad About Theatre, Writers Republic, Brisbane City Council & Brisbane Powerhouse. Based on the beloved '90s Australian animated TV series, Li’l Elvis Jones and the Truckstoppers: The Musical brilliantly reimagines the quirky, larger-than-life characters and outback town of Wannapoo in a show that radiates joy, chaos, and plenty of rock 'n' roll energy. Presented by Mad About Theatre, the production captured the whimsical charm of the original while amplifying its chaos, colour, and cartoonish joy in ways only live theatre can achieve. I was curious about how the story would translate to the stage—and I was blown away by its imaginative execution. From the impeccable set design and zany wigs to the energetic performances and upbeat original music compositions, the show hit all the right notes for family entertainment. Adding to the fun was a buzzing audience filled with kids and parents soaking up the school holiday excitement, plus a photo section where fans could pose with cardboard cutouts of the cartoon characters.   Joined by a cast of characters from the original series, Li’l Elvis Jones and the Truckstoppers embark on an adventure filled with music, friendship, and a celebration of country and community. Li'l Elvis is a local legend, entertaining truck drivers at the roadhouse by playing Elvis Presley songs. But Li’l Elvis is tired of the music and his mum's insistence that he is 'the King' reborn. With his friends, Lionel and Janet, he creates his own sound – Didgibilli Rock. But when the greedy property tycoon WC Moore and his bumbling sidekick Duncan arrive in Wannapoo with grand plans to transform it into a tourist hotspot called Li'l Memphis, the townsfolk are quick to jump on board without fully understanding what they are agreeing to.   Set and Design: A Living Cartoon The set design was a visual spectacle, featuring rotating structures that transitioned from the dusty streets of Wannapoo to the depths of the mines, and could even literally unfold to unveil Li'l Memphis. Madeleine Barlow, the head of design, deserves a standing ovation for capturing the animated essence of the original series. From the scribbled stars projected as the scenery to the cartoonish props, every part of the design appeared as though it had been hand-drawn and then brought to life through theatre magic. Even the lighting, awash in vibrant colours, played a key role in turning the stage into a living comic strip. The costumes and wigs were impossible to miss. They were so colourful and exaggerated they could've been mistaken for a cosplay convention, with each wig styled to be delightfully over-the-top.   Musical Numbers & Choreography The music, composed by Glenn Moorhouse and directed by Michael Keen, was packed with rock 'n' roll beats and stirring ballads. The show’s musical energy was electric from the foot-stomping opening number "He's Li'l Elvis" to dazzling choreography that never let up. Aidan McIntyre, as the titular Li’l Elvis, shone with his soulful solo “An Existential Crisis/Who Am I?” beautifully capturing the heart and angst of a kid with a big voice and an even bigger identity crisis. The production was peppered with memorable moments, from the torch-lit choreography of “The Tomb of Ol' Man Izzard” to the rousing ensemble piece “Be What We Wanna Be,” which featured dynamic guitar, epic percussion, and didgeridoo by Caleb Fitzpatrick. The show-stopping tap number “Here’s Your Chance (Subterranea)” had the audience cheering—because honestly, what musical is complete without some tap dancing? One of my personal favourites was the number “My Voice,” performed by the three lead kids, the Truckstoppers. The near-final song, “I Think He's Changed His Mind,” featured excellent partner choreography. The whole cast looked like they were having the time of their lives. The creative team clearly hit the jackpot, putting together a dream team of performers who pumped the show full of energy and talent. Standout Performances The voice acting throughout the performance was impressive, with each performer amplifying the quintessential accent to match their animated counterparts perfectly. Aidan McIntyre led the charge as Li’l Elvis, capturing the character’s mix of determination, vulnerability, and angst with ease. Genevieve Krause as Janet and Koby Walsh as Lionel brought warmth and humour as his loyal bandmates. Alex Watson stole the spotlight as the hilariously villainous W.C. Moore with his upbeat number “Let’s Get Down to Business”—no, not that  Mulan song, but equally catchy. Dressed in a cartoonish yellow suit straight out of The Mask , Watson's striking presence and impeccable comedic timing were gold. Ben Adams as Duncan, the endearing and dramatic sidekick, was an audience favourite. Samantha Sherrin gave a knockout performance as Grace, the adoptive mother of Li'l Elvis. Her solo, “Anytime,” was a heartfelt highlight that beautifully showcased her rich, emotive voice. The breathtaking bridge of the song was so impactful and memorable that it seemed like the kind of number added specifically to showcase Sherrin’s abilities if it hadn’t already been in the libretto. Chloe Rose Taylor's versatility was astonishing as Rhonda Rorts, the reptilian, sultry villainess with a penchant for manipulation. Her Act 2 opener, “You Just Can’t Say That Anymore,” was both hilarious and captivating as switched personas from the slithering redheaded femme fatale to a prim blonde lawyer. Her hypnotic number, “Sweeties,” was eerie and mesmerising as she puppeteered the children with candy. Her performance was a perfect blend of camp and command.   The ensemble brought boundless energy and charming goofiness to every scene, with Carla Beard delivering a standout performance as Eileen Inyaface (I couldn't stop cackling every time her character's name was mentioned—apologies to the friend I brought along!). Sienna Randall and Chelsea Burton, members of the ensemble, made exceptionally engaging acting choices that continually held my attention. The younger cast members also excelled, especially during the rock-inspired number “Code Red,” which radiated School of Rock  energy and attitude. Direction & Execution Madison Thew-Keyworth’s direction and choreography hit all the right notes, striking a perfect balance between nostalgic homage and fresh storytelling. The script was peppered with classic Aussie humour that had both kids and adults laughing throughout. The frequent fourth-wall-breaking moments were a brilliant touch that added to the show's playful tone. I personally loved it (I always do) when shows engage the audience that way. They also managed to keep the humour family-friendly with amusing lines like “You're a bleeping bleep, WC Moore!”   The show was brimming with clever visual gags and Aussie lingo, yet it never lost sight of its heart: a story about identity, friendship, and finding one's voice—both literally and metaphorically. Whether you grew up with the original series or were experiencing it for the first time, the production delivered an electrifyingly good time. The moral of the story? Don’t sign a contract without reading it!   It’s truly exciting to see so much new Australian theatre being developed right here in Brisbane! Productions like ' Round the Twist the Musical'  by QLD Theatre, ' Eat Slay Zombie'  by Playlab Theatre, and my personal favourite ' Straight from the Strait'  by Opera Queensland are just the beginning. ' Fancy Long Legs'  by La Boite Theatre and now ' Li’l Elvis Jones'  by Mad About Theatre have quickly become standout favourites aimed at children’s audiences. I hope Brisbane keeps nurturing and supporting these vibrant new works. We are so lucky to have them!

Title:   No Dinner for Sinners Presented By:  Centenary Theatre Group Genre:  Comedy Synopsis: Jim Watt runs the London office of a stock exchange firm and is hosting a dinner for the International Director and his wife, Bill and Nancy McGregor, prominent members of the anti-permissive society group. As Bill strongly disapproves of unmarried couples living together, Jim asks his girlfriend, Helen, to pose as his wife for the evening. Helen flatly refuses and walks out, leaving Jim scrambling for a solution. Desperate, he turns to his eccentric cleaning lady, Edna, who agrees to step in—for a fee, of course. Chaos ensues as Edna struggles to manage the evening while cooking an elaborate meal and entertaining the guests. To complicate matters, Helen returns unannounced, followed closely by Jim's young assistant, Terri. A hilarious web of miscommunications and quick lies unfolds as Jim tries to save his job—and his sanity. Audition Date:  Saturday, 1 February 2025 Audition Time:  2:30 pm Audition Location and Address: Centenary Theatre, Corner of Queenscroft and Halsbury Streets, Chelmer Audition Requirements: Cold readings from selected pages of the script. A brief summary of previous experience (CV optional). A professional headshot will be taken on the day for publicity. Available Roles: Jim Watt  – Businessman, 32. Helen Foster  – Jim's girlfriend, 20s. Edna Chapman  – Jim's eccentric cleaning lady, middle-aged. Terri Pringle  – Jim's personal assistant, early 20s. Bill McGregor  – Jim's boss and International Director, 50s Nancy McGregor  – Bill's wife, 40s Accent Requirements: British accents for most characters. Bill and Nancy McGregor require American accents. Performance Dates: May: 10, 16, 17, 18, 23, 24, 25, 30, 31 June: 1, 2025 Performance Location: Centenary Theatre, Corner of Queenscroft and Halsbury Streets, Chelmer Rehearsal Dates: Preferred days: Mondays, Wednesdays, Saturdays. Warnings:  Some content may include mature themes. Recommended Age:  18+ for cast members. Director : William McCreery-Rye Production Website: https://centenarytheatre.com.au Other Information: Audition forms must be signed and submitted on the day of the audition. All enquiries can be directed to William at willchar04@outlook.com . If not cast, you may express interest in working backstage, tech operations, or front-of-house roles.

Title:   The Perfect Murder Presented By:  Ipswich Little Theatre Society Inc. Genre:  Thriller/Drama Synopsis: A man, fed up with his wife and job, plans to murder his wife in cold blood. However, he soon discovers that he is not the only one with murder on their mind. A thrilling game of cat and mouse ensues. Audition Date:  Monday 3 February 2025 @ 7.30 pm Audition Location and Address:  Ipswich Little Theat re, 15 Burley Griffin Dr, Ipswich QLD 4305 Audition Form Link:   Register Here Available Roles: Victor Smiley (40-50’s)  – A man fed up with his job and wife, deciding to get rid of her. However, he’s not the only one with murder on his mind. He is obsessive-compulsive. Kamila Walcak (20’s)  – A Croatian woman (accent essential) and Victor’s favourite prostitute. Joan Smiley (35-50’s)  – Victor’s wife, who seeks revenge by spending his money. An incorrigible gossip and lover of shopping. Detective Constable Roy Grace (20’s)  – The dedicated detective investigating the case. Don Kirk (40-50’s)  – Joan’s secret lover. A middle-aged, fit taxi driver who loves using cockney rhyming slang. Rehearsal Dates: Rehearsals are usually held in the evenings during the week but can sometimes be on weekends depending on cast availability. Performance Dates: 14 May to 31 May 2025, with matinees on 18 and 25 May. Performance Location: Ipswich Little Theatre Directors: Helen & Ian Pullar