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Title:  Musical Theatre Open Mic Presented By:  Broadway Rising Stars Genre:  Youth Musical Theatre Synopsis: Broadway Rising Stars is an exciting opportunity for talented young performers aged 17 and under to showcase their musical theatre skills. This event aims to highlight the next generation of musical theatre stars, giving them a platform to shine and perform live in front of an audience. Audition Self Tape:  Submissions close on 27th July 2024 Audition Link:  Online submission via link to audition form Audition Requirements: Video Performance:  Record yourself performing two contrasting musical theatre songs that showcase your voice and style. These will be the songs you perform live if selected. Recording Guidelines:  Use a smartphone or any device that captures clear video and audio. Ensure the recording is in a quiet, well-lit space with minimal background noise. Upload Instructions:  Upload your video to a shareable platform (YouTube, Vimeo, etc.). The video does not need to be public, but the link must be accessible. Submission:  Complete the audition form  and submit the link to your audition video. Required Age: Open to all young performers aged 5-17. Only 15 spots are available, so early submission is encouraged. Performance Date:  Sunday, 4th August 2024 Performance Times:  2:00 PM Performance Location:  Sit Down Comedy Club, Paddington Other information: Auditioning and performing is 100% free. There are no entry fees or hidden costs.

I recently had the pleasure of attending Loxlea Creative's performance of "The Critical Last Chance Years Vol. 3" during the Anywhere Festival Brisbane, and it was truly delightful. This one-woman musical cabaret features Zoe Georgakis as Amy, who leads the audience through the wild journey of a perpetually single woman. The creator, Laine Loxlea-Danann, masterfully blends a range of genres in her music and lyrics, crafting a musical performance that is both heartwarming and entertaining. The audience is invited to Amy's 50th birthday celebration, where she recounts the ups and downs of her life as a single woman, beginning in her 20s. The show kicks off with 'Life, I've Got You by the Balls,' belted out flawlessly by the jazz diva extraordinaire Zoe. (I apologise for not knowing the actual song titles). But let me tell you, the real showstopper was 'I Like Doing It on My Own.' Coincidentally, today, on my 29th birthday, I found the message of embracing your own company and rejecting societal expectations to be very relatable. Likewise, the 'That's Just Disney Bullshit' number struck a chord with my childhood fantasies of fairy tales. The peak of hilarity came during the "Guide to Flirting" segment, where Amy unsuccessfully attempts various physical flirting techniques - flash your wrists, wink, subtly point to your cleavage, rub your neck - ending in severe second-hand embarrassment. This period of Amy's life is marked by friends relying on her, sharing their happy news, and seeking favours without reciprocating an interest in her life. A particularly memorable quote was, "Your 20s are your time to bloom. I didn't think blooming would be this lonely." At one point in the story, Zoe shifts characters to embody Amy's friend who already has the house-husband-children package. I appreciate that this character highlights all the perks of flying solo versus the supposed shackles of coupledom/parenthood. The song 'Past Your Prime/Everybody's Having Their Babies' reflects the pressures to start a family before it's "too late", while the emotional ballad 'Goodbye Baby,' addresses the heartbreak of infertility. As Amy hits her 30s, she goes all out - having fun, traveling, and mastering the art of saying 'no,' all while diving into the chaotic world of online dating with a detailed list of criteria for a "good man." All the while, Zoe seamlessly switches between portraying other characters then back to her quirky, loveable depiction of Amy. The peak of the story sees Amy's behaviour become increasingly unhinged and unsettled, leading to her eventual acceptance and contentment with her situation by her 40s. And the icing on the cake? Amy symbolically marrying herself, showing us all that self-love beats society's rulebook any day. The seating was set up cabaret-style with bubble-blowers, streamers, confetti, and party-poppers on every table - fully immersing us in the party spirit! The decorations, birthday cakes, balloons, and the exceptional live jazz band all contributed to establishing the festive mood. This cozy setup fostered a close connection between Zoe and the audience, turning the spectators into active participants in Amy's story. The integration of theatrical elements like the live vlogging projection, prop manipulation, lighting effects, and creative choreography added even more vibrancy to the storytelling. Zoe captivated with her charisma and interactive approach. Marianne Klausen's direction, along with Laine Loxlea-Danann's script and music, made it easy to follow and engage with each scene. What truly set this performance apart was its ability to make me feel personally seen and understood. People like Amy and I, who do not desire the traditional family life of a husband, house, and children are not common; we are an exception to the norm. Laine has put together a show that expresses those often concealed feelings and unspoken thoughts, resulting in a liberating and empowering experience. The shared laughter, nods of understanding, and sighs of recognition, particularly from the women in the audience, highlights the profound impact of Amy's story. "The Critical Last Chance Years Vol. 3" takes you on a journey through the ups and downs of reaching the milestone age of 50. It celebrates individuality, resilience, and the joy of embracing life on one’s own terms. Whether you’re single, married, or somewhere in between, this musical has something for everyone. So make sure to keep an eye on Stage Buzz Brisbane for any upcoming performances to ensure you catch this fantastic show!

Title:  Bondi Legal Presented By:  ILT Genre:  Legal Comedy-Drama Synopsis: Bondi Legal is a comedic legal drama set in Bondi Beach. The story revolves around the loud-mouthed and aggressive proprietor of a legal practice, Frank Bailey, who is completely self-absorbed. The plot follows the interactions between Frank, his indecisive and panic-prone lawyer Brad Pitt (whose name is a constant source of disbelief), the elegant and gentle Frances Denyer, and the no-nonsense Magistrate Newman, who despite her permanent scowl is ironically nicknamed "Smiley." Audition Date:  Monday, 29 July 2024 Audition Time:  7:30 pm Audition Location and Address:  Ipswich Little Theatre, 15 Burley Griffin Dr, Ipswich QLD Available Roles: Frank Bailey:  (50-60) Loud-mouthed, aggressive proprietor of Bondi Beach Legal practice. He is totally self-absorbed and cares little for the plight of others. Brad Pitt:  (30-40) A lawyer who finds it difficult to decide if he is a man or a mouse. Completely lacking in self-confidence, he is prone to panic attacks. And no one believes he is Brad Pitt. Frances Denyer:  (30-40) An elegant, attractive woman who is a caring and gentle soul. Magistrate Newman:  (50-70) A judicial officer who has a no-nonsense approach to the conduct of cases and wears a permanent scowl on her face, but is nicknamed “Smiley”. One Male Actor to Play Three Small Roles Audition Registration:  Complete the form at ILR Audition Form Link Performance Dates:  20 November to 7 December 2024 Creative Team: Director:  Chris Austin Greenhill Assistant Director:  Liz Ball Other Information:  For further information, including perusal scripts, contact Chris on 0427 977 007 or via email.

Title:   I Love You, You’re Perfect, Now Change! Presented By:  Sunnybank Theatre Group Inc. Genre:  Musical Revue Synopsis : A humorous and heartwarming exploration of modern love in all its forms. From the excitement of first dates to the challenges of long-term relationships, this revue captures the essence of romantic connections throughout a lifetime with wit and charm. Audition Details: Audition Date: Friday 16th August 6:00pm - 9:30pm or Saturday 17th August 10:00am - 9:00pm Audition Location and Address: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD Audition Requirements: You will have a total of 15 minutes for your individual audition. Choose a character from the scenes provided and prepare a performance. Note that it does not need to be memorised or read perfectly. A reader will be provided. Perform your version of the scene and then a second performance with direction. This helps assess the fit of your acting skills to the material in the show. Vocal Audition: Songs:  Prepare two contrasting songs, each approximately 1 minute in length. Contrasting refers to differences in style, tempo, mood, etc. (e.g., one fast and upbeat, the other slow and emotional). Backing Track:  Bring a backing track via phone, USB, or a YouTube link. The audition panel will have the technology to plug into speakers. Vocal Range Assessment:  On the day, there will be a short vocal range assessment to determine your highest and lowest notes. This helps assess your vocal type and suitability for the show's material. Dance Performance: Choreography:  Watch and learn the provided choreography sequence to the best of your ability. It does not need to be perfect. On the Day:  You will have a short refresher with Josh and will perform the sequence twice. This helps assess your movement ability and suitability for the choreography in the show. Callbacks: Date:  Sunday 18th August, 4:30-6pm. Purpose:  To assess vocal blends for duets in the show. This helps in making decisions on selecting the final 12 performers. Outcome:  All auditionees will be notified of the outcome via email on Sunday 25th August by 5pm. Available Roles: You will be assigned to a suitable role at the discretion of the creative team. If you have a preference, please indicate this at your in-person audition. Specialist accents are not required for this production. Audition Registration: Register online at Sunnybank Theatre Audition Registration Audition Pack: Available here Performance Dates: Friday 8th November - Saturday 23rd November, 2024 Performance Location: Sunnybank Theatre Group Inc, 14 Mains Road, Sunnybank QLD Rehearsal Dates: Mondays & Wednesdays from 2nd September Sundays from 8th September Rehearsal Times: 7:00pm – 9:30pm (Weekdays) 12:00pm – 6:00pm (Sundays) Creative Team: Director : Tammy Sarah Linde Assistant Director : Luke O'Hagan Music Director: Emma Erdis Choreographer : Joshua Brandon Other Information: Meet & Greet/First Rehearsal:  Sunday 1st September Photoshoot:  Sunday 8th September Sitzprobe:  Sunday 27th October Technical Rehearsals:  Various dates from 27th October to 6th November Bump Out:  Sunday 24th November (starting at 10am) Membership Fees:  $30 for one year or $75 for three years

Title:  Hedda Gabler Presented By:  Maleny Players Genre:  Classical Drama Synopsis: "Hedda Gabler" has been hailed as a dramatic masterpiece. Encompassing literary realism from the pen of Henrik Ibsen, it was ahead of its time and controversial. The role of Hedda Gabler is considered one of the great dramatic roles in theatre and we ideally need a strong actor with stage presence. All the parts in this play are strong roles and actors should be keen to delve into classical drama. Set in the drawing room of the Tesman house in Norway, the play focuses on the frustrated existence of its title character, exploring core issues of power, control, and societal expectation in the 19th century. Bored and restricted by her middle-class environment, Hedda plays out psychological games on those nearest to her, watching the cascade of events unfold. Audition Dates: Monday, 5 August 2024, 6:30 PM Thursday, 8 August 2024, 6:30 PM Audition Location: The Playhouse, Maleny Showgrounds Available Roles: Hedda Gabler  – Female, 25-40 years – Elegant, aloof, manipulative, and self-assured; newly married Jorgen Tesman  – Male, 30-55 years – University academic; husband of Hedda Mrs Elvsted  – Female, 25-50 years – Quiet, intelligent, slightly nervous disposition; friend of Hedda Ejlert Lovberg  – Male, 30-60 years – Bohemian academic; drinker and rogue; slightly dishevelled Juliane Tesman  – Female, 55-70 years – Benevolent, witty, and wise; Aunt of Jorgen Mr Brack  – Male, 30-60 years – Clever businessman and womaniser; smartly dressed Berte  – Female, Any age - Maid of the Tesman household Rehearsal Dates: 19 August – 17 October 2024 Performance Dates: 18-27 October 2024 Performance Location: The Playhouse, Maleny Showgrounds Contact Information: Director: Kathryn Barnes Phone: 0434 879 014 Email: barnes@aussiebroadband.com.au Additional Information: Stage ages are listed as a general guide only. Rehearsal days and times will be worked out with the cast and crew once the play is cast. For more information, visit Maleny Players .

Title:  Murder in Company Presented By:  Reservoir Frogs Theatre Company Genre:  Mystery Thriller Synopsis: A dramatic society assembles on the stage of a church hall to rehearse a mystery thriller under its somewhat dictatorial director Philip Stephens. Tensions within the company mirror the suspense of the play they are rehearsing. Philip's wife is too friendly with one of the actors, a prowler is in the neighbourhood and attacks one of the girls, an unpleasant caretaker attempts blackmail, and one of the cast members seems to have a mysterious past. The rehearsal is plagued by difficulties until the mysterious death of one of the group brings the fictional whodunit into real life. It turns out that almost everyone could have committed the murder. AUDITION DETAILS: Date:  Tuesday 16th July 2024 Time:  7:00 PM - 10:00 PM Venue:  RSL Sub-Branch Hall, Corner Waterworks & School Roads, The Gap (Park in the carpark off Waterworks Road next to the C&K and walk down the stairs at the back of the carpark to access the hall) Requirements:  Cold read from the script Audition Registration: To register for an audition, please read the information and fill out the form here: Audition Registration Form Contact: For any questions, please email reservoirfrogstheatrecompany@gmail.com Available Roles: Alan Wilson:  an Actor, male, 20+ Margaret Stephens:  an Actress (married to Philip Stephens), female, 30's to 40+ Ted Smith:  the Caretaker, male, 40+ Philip Stephens:  the Director, male, 40+ Ronnie Meadows:  the Stage Manager, male, 40 - 50 Phoebe Kershaw:  an Actress, female, 50+ Patricia Robins:  an Actress, female, 20+ Doris Stewart:  an Actress, female, 25+ Creative Team: Director:  Helen Ekundayo Rehearsals: Start Date:  Sunday 21st July 2024 Schedule: Tuesday & Thursday evenings: 7:00 PM - 10:00 PM Sundays: 12:00 PM - 3:00 PM Tech/Opening Week: Sunday 8th, Monday 9th, Tuesday 10th, Wednesday 11th September (Thursday 12th only if necessary) Performances: 13 - 29 September 2024 Friday and Saturday evenings at 7:30 PM Saturday matinees at 2:00 PM Additional Notes: Rehearsals are in The Gap. Performances may be spread across two weekends at The Gap and one weekend at Samford. This is to be confirmed. All roles are open for casting. To be considered for a role, you must be available for the majority of rehearsals, all of tech week, and all performances. Please state any known unavailability on your application.

Title : Strictly Ballroom: The Musical Presented By : Beenleigh Theatre Group Genre : Musical Theatre Synopsis : Adapted from the 1992 film, Strictly Ballroom: The Musical tells the story of Scott Hastings, a championship ballroom dancer who defies all the rules to follow his heart. After making up his own moves that do not please the Australian Dance Federation, he meets Fran, a beginner who is not very skilled at dancing. The production features songs from the original hit film including "Love is in the Air" and new compositions by internationally acclaimed artists such as Sia, David Foster, and Eddie Perfect. Audition Dates : 10 – 11 August, 2024 Audition Registration : Register Here Audition Pack : Download the Audition Pack Choreography Audition Tutorial : Watch the Tutorial Audition Requirements: General Requirements: Age Requirement:  Except for the roles of Kylie and Luke, auditionees must be 16+ at the time of auditions. Membership : Each successful auditionee will be required to become a member of BTG at a cost of $10 prior to the commencement of the first rehearsal. Dance Call : All auditionees need to attend a group dance call in addition to their private slot. The dance call will be held at 10:00 AM on Saturday, 10 August. Character Role Auditions: Songs : Prepare 2 songs, each 1 to 1.5 minutes in length. Songs should demonstrate vocal range and be in a style similar to the show music (pop/musical theatre). Provide your own backing music; attachments for phones will be available in the audition room. Script Extract : Prepare to read an attached script extract. Additional sides may be provided on the day of auditions. If no side is supplied for a particular role, auditionees for that role may read a side of their choice. Dancer-Only Auditions : If you are auditioning for a dance-only role, you do not need to attend an individual audition or prepare a song. More information is provided in the 'ensemble' section of the audition pack. Couples Auditions: Some experienced dancers may wish to audition as couples. If so, please prepare a 1-2 minute ballroom routine. You will have the opportunity to present this at the end of the dance call on Saturday. Casting Policy: Beenleigh Theatre Group is committed to diverse, inclusive casting, and encourages auditionees from all backgrounds, abilities, and experiences to apply. They expect all members and employees to be inclusive and supportive of diversity in language and action, rejecting any offensive or insensitive behaviour. Priority will be given to BIPOC, LGBTQIA+, and artists with disabilities for roles explicitly identified as such in the script. Rehearsals: Commence : 18 August 2024 Schedule : Monday and Wednesday evenings (7:00 PM - 10:00 PM), and Sundays (4:00 PM - 9:00 PM) Performance Dates: Opening Night : 22 November 2024 Closing Night : 7 December 2024 Total of 9 performances on Friday and Saturday evenings at 7:30 PM, and Saturday afternoons at 2:00 PM. Performance Location and Address : Crete Street Theatre, Beenleigh, QLD Roles Available: Scott Hastings : Athletic and charismatic, but arrogant and ambitious. Strong dancer and singer. (Tenor, D3 - Ab4, Age: 20s) Fran : Timid to tenacious transformation, strong singer and dancer. (Soprano, Ab3 - Eb5, Age: 20s) Shirley Hastings : Scott's mother, strong vocal and some dance ability required. (Alto, F3 - D5, Age: 40+) Doug Hastings : Scott's Dad, requires good comic timing. (Tenor, D3 - D4, Age: 40+) Barry Fife:  President of the 'Federation', villainous character. (Baritone, Bb2 - F4, Age: 40+) Les Kendall:  Scott's mentor, strong song and dance man. (Bass, G2 - E4, Age: 40+) JJ Silvers:  Master of Ceremonies, prominent role with dialogue and song. (Baritone, Ab2 - E4, Age: 30+) Rico : Fran's father, powerful presence, Spanish accent and language required. (Baritone, E3 - D4, Age: 40+) Abuela : Fran's Grandmother, singer/dancer, speaks some Spanish. (Alto, G3 - D5, Age: 50+) Tina Sparkles : Classy and glamorous dancer, seductive. (Mezzo-Soprano, B3 - C5, Age: 20s-30s) Liz Holt : Scott's partner, high maintenance. (Mezzo-Soprano, D4 - D5, Age: 20s) Vanessa Cronin : Liz's friend, attractive but not too sharp. (Age: 20s) Ken Railings : Aging show-off dancer, often drunk. (Baritone, A2 - E4, Age: 30+) Wayne Burns : Scott's mate and fellow competitor. (Age: 20s) Kylie Hastings : Scott's sister, strong dancer and singer. (Mezzo-Soprano, G3 - D5, Age: 10-13) Luke : Kylie's ballroom dance partner, sings and dances well. (Alto, G2 - D4, Age: 10-13) Ensemble : Additional featured ensemble dancers, some roles do not require singing. Creative Team: Director : Daniel Dosek Vocal Director : Nicholas Hargreaves Music Director : Peter Lavrencic Choreographers : Hayley Iffland and Heather Barraclough

Presented By:  Villanova Players Theatre Company Genre : Musical Theatre Synopsis : This much-loved musical tells the story of Eliza Doolittle, a Cockney flower girl who takes speech lessons from Professor Henry Higgins, a phonetician, so that she may pass as a lady. Despite his cynical nature and difficulty understanding women, Higgins grows attached to her. Written By : Alan Jay Lerner (book), Frederick Loewe (music), based on a play by George Bernard Shaw Audition Date and Time: Saturday 27 July 2024, 11:00am - 3:30pm Audition Location and Address: THE THEATRE, Dining Room: "Morningside TAFE", 7 Clearview Terrace, Seven Hills, Brisbane QLD Audition Registration : Book your audition slot through TryBooking Audition Pack:   Available Here Performance Dates: 29 November - 8 December 2024 (with possible extension to 15 December 2024) Performance Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, Brisbane QLD Rehearsals: First Rehearsal: Sunday 18 August 2024 Final Rehearsal: Thursday 28 November 2024 Times: Tuesdays and Thursdays 7:30 - 9:30 PM, Sundays 11:00 AM - 4:00 PM Roles Available: Henry Higgins: A professor of phonetics, Male 40-50 Alfred P. Doolittle: Eliza's father, a dustman, Male 50-60 Col. Hugh Pickering: Henry Higgins's friend, Male 60-70 Mrs. Higgins: Henry's socialite mother, Female 70’s Freddy Eynsford-Hill: A young socialite and Eliza's suitor, Male 20-30s Mrs. Pearce: Higgins's housekeeper, Female over 40 Zoltan Karpathy: Henry Higgins's student and rival, Male 30-40s Chorus: Butlers, maids, street people, social elite, Male and Female, Any age Creative Team: Director: Jacqueline Kerr Production Website: Visit our Audition Page  for more details Other Information: Villanova Players welcomes the participation of any and all members of our community. We encourage people from marginalised groups and with diverse backgrounds, abilities, and experience to apply. We would love to see many faces (both new and old) join us at auditions. If you are unable to attend on the audition day or wish to help out behind the scenes, please fill out an expression of interest form : Fill out the form For more information, contact Leo Bradley at 0428 867 994 or email info@villanovaplayers.com .

Could you share with us your journey into the world of theatre, particularly as a playwright? Oliver : I suppose my training began as a student actor and as a keen reader. I always enjoyed performing in front of friends and at school, and loved participating in performances of all kinds. My family and I spent two years living in a tent and traveling across the country. So my siblings, kids from different campsites, and I would create skits and perform them around a campfire for fellow campers. After I discovered plays, I read myself as many as I could and enrolled in every available performance opportunity. I was particularly drawn to comedic works and gained valuable insights into what is fun, captivating, and engaging for an actor through my participation in a range of student productions at SUDS in the University of Sydney, Bedlam Theatre in the University of Edinburgh, and Underground Theatre Company at UQ. This experience was key in my journey towards understanding the elements that contribute to a successful script and discovering ways, as a writer, to provide exciting opportunities for performers.   The drama program at the University of Queensland enhanced my critical understanding of theatre and provided me with practical skills in its production, especially through the playwriting program led by Stephen Carleton. From there, I started to see my writing come to life on stage, and I was able to combine my passion for reading and play scripts with the lively nature of theatre. Furthering my studies, I completed an Honours in playwriting and a Master of Philosophy at UQ, where I was lucky to be supervised by experts Stephen and Joanne Tompkins who specialise in the type of writing that interests me. Through this program, I worked on longer plays and researched absurdism and ecological theatre, ultimately shaping my understanding of this field and what I wanted to do with my own creative work.   It's fascinating to hear about your diverse background, from creating skits around a campfire to studying at renowned institutions. I'd love to know more about the transition from writing to seeing your work produced. You've had plays like "X" and "Concrete Mirage" developed and produced by various theatre companies. Can you share a bit about the process of seeing your work come to life on stage? Oliver : It’s always exciting and terrifying witnessing your work on stage, or even hearing it during a first read or workshop . During both of those productions, I was lucky that there were talented and thoughtful directors like Brandon Palmer and Cam Scurrah attached to the work, which gave me confidence in the direction of the work. I was around for a first read -through and a couple of rehearsals, but after those early edits, the creative team found their own vision for the scripts. I typically prefer to "let go" control of the script once rehearsals have really begun to see what the director, actors, and design team can bring their to the world we are creating. It’s amazing to see how unexpected lines come to life, new meanings are found, and laughter come through the contributions of everyone involved. Ultimately, the script is a blueprint for the performance, and the transformation of the script from paper and ink to bodies on stage in front of an audience is a radical process - and very exciting. All sorts of things shift and come to light in this environment, which is what motivates me to write for the stage.   As someone who hasn't ventured into writing, I can only imagine how exciting that process must be. Being a Disney tragic myself, I'm particularly excited to talk about your latest work — "Disney Off Ice." This play has been described as an inventive and humorous satire exploring the legacy of Walt Disney. How did you approach the task of parodying such an iconic figure? Oliver : Of course, research played a big role in the early stages of developing this play, but I think the focus has ultimately shifted from being solely about Disney himself to ideas about celebrity and legacy. The Walt Disney is such a rich and fascinating figure, so at times it was a challenge not to focus on this one person completely. The name and the brand of Disney carries such significant cultural weight and comes with an enormous wealth of images, meanings, and associations; so there were plenty of exciting ideas to consider and explore. A s our director Lachlan Driscoll, the artists at Observatory Theatre, and I continued to develop this work, we found it more urgent to question and examine the cultural aspects that Disney represents, such as the creation of icons, the artistic process, and the uneasy relationship between art and capitalism.   What can audiences expect from “Disney Off Ice,” and how do you anticipate they will engage with it? Are there specific reactions or discussions you hope the play sparks among viewers? Oliver : I think audiences can expect a pretty wild show. We have found an incredibly strange future world in this process, and have placed a cranky, raving Walt Disney right in the centre of the chaos. The production is full of big characters and absurd events that I trust will surprise and provoke audiences. The future of our planet is an important thread in the work - so I’d like to see audiences ponder what our future may look like if business is continued as usual. Where will the relentless pursuit of profit lead us in the years to come? How will it impact art, people, and the environment? I believe this play takes the comical strangeness and brutality of where things are headed, and brings it just a few steps closer to total madness. What might the world look like centuries from now? Is there anything that wouldn't become an industry or couldn't be commercialised? If cryonics were successful, what would these defrosted icons have to say about their legacies? Would the planet as we know it be destroyed? Would Walt Disney emerge from his tank to a ready-made militant cult?   Oh my stars, that sounds like an incredible concept! I am so looking forward to have my mind blown by "Disney Off Ice." Now, let's dive into the glamorous world of theatre! What keeps your playwright heart beating with passion and excitement? Oliver : Collaboration is a huge part of what I love about making theatre. Sometimes writing can be a little lonely, so witnessing the transformation of work in a shared space is truly incredible. Initially, what captivated me about theatre was that collaborative spirit - sharing the stage with fellow actors, trusting each other, and drawing inspiration from each other's creativity - which I still feel today in various ways. Another part of my passion for theatre are the opportunities it can offer for social and political change. I view theatre as a dynamic, impactful, and public art form - a place where new or radical ideas can enter the world. Seeing the work of other writers and creatives, as well as exploring both contemporary and classic plays, serves as a continual motivation. It’s such a privilege to see your writing come to life, and an opportunity to do something special. Absolutely! As someone who’s deeply involved in theatre myself—juggling teaching, performing, blogging, and reviewing—I know that rush of discovering and witnessing productions that I may not have encountered otherwise. For those who are aspiring to carve out a career in theatre, whether on stage or behind the scenes, what advice would you offer? Oliver : I believe it's valuable to engage with various theatre productions and approach reading plays with the same enthusiasm. I would say that it’s valuable to somehow be involved in as much theatre as you can and approach reading plays with the same attitude. Obviously exposing yourself to professional, indie, and student shows of all types is important, but can be tough with money and logistic constraints. Although, many theatre companies offer discounts for young people or pay-what-you-can options. For writers in particular, I’d recommend exploring plays and novels extensively through our public, state, university libraries, borrowing from friends, or buying your own if there’s something new and exciting that calls to you. From here, you can start to develop your own perspectives on, and familiarity with, different forms of language, pacing, and structure in plays. The practical side is also key. So again, I’d say just get involved in the process of making performances however you can. Keep an eye out for skill development programs, emerging artist programs, and opportunities of all types. While my personal experience with studying drama at university has been very useful, my best general advice is to "do" theatre whenever possible! Thank you so much for your time, Oliver. Catch the world premiere of 'Disney Off Ice' by Observatory Theatre, running from August 16 - September 1, at Studio1, Yeerongpilly. Secure your tickets here.

Title:  The Lovely Bones Presented By:  Redcliffe Musical Theatre Genre:  Drama Synopsis: This stage adaptation of Alice Sebold's 2002 novel revolves around Susie Salmon, a 14-year-old girl who, after being murdered, watches from her own personal heaven as her family and friends cope with her death and as her killer attempts to cover his tracks. The play captures the emotional and psychological depths of the characters as they navigate their grief and search for justice. Written By: Book:  Alice Sebold Adapted for the Stage:  Bryony Lavery Audition Dates: Information Session:  Wednesday, 17 July, 7:00 pm Auditions:  Sunday, 21 July, 9:00 am - 1:00 pm Audition Location and Address: Theatre 102, Redcliffe Audition Requirements: Prepare a short monologue in the style of the play (no more than 1 minute). Cold reads from the script with other auditionees. Call-backs may be necessary to ensure the right balance for the characters, especially as many performers will have multiple roles. Audition Registration:   Redcliffe Musical Theatre Audition Pack: Available Here Rehearsal Information: Schedule:  Monday and Wednesday nights from 7:15 pm to 9:30 pm, and Sunday (TBA) Starting Date:  Monday, 22 July Performance Dates: Friday, 6 September:  7:30 pm Saturday, 7 September:  2:00 pm and 7:30 pm Sunday, 8 September:  6:00 pm Friday, 13 September:  7:30 pm Saturday, 14 September:  2:00 pm and 7:30 pm Sunday, 15 September:  6:00 pm Performance Location and Address: Theatre 102, Redcliffe Available Roles: Susie Salmon: The protagonist and narrator of the story. A 14-year-old girl who is murdered and watches over her family from her personal heaven. A performer aged 16-18 who can portray a 14-year-old. George Harvey: The antagonist, a neighbour and Susie’s murderer. A strong actor over 40 years old. Jack Salmon: Susie’s father, who becomes obsessed with finding her killer. An actor aged 35-45. Abigail Salmon: Susie’s mother, who struggles with grief and eventually distances herself from the family. An actress over 35 years old. Lindsey Salmon: Susie’s younger sister, who becomes a source of strength and hope for the family. A performer aged 16-18. Buckley Salmon: Susie’s younger brother, who is too young to fully understand the tragedy but is deeply affected by it. A young actor aged 14-16 who can play a much younger character. Ray Singh: Susie’s schoolmate and first crush, who also has to cope with her loss. An actor at least 16 years old. Ruth Connors: A schoolmate of Susie who has a supernatural connection to her and is sensitive to Susie’s presence. An actor at least 16 years old. Len Fenerman: The detective assigned to Susie’s case who becomes emotionally involved with Abigail.  A mature actor over 30 years old. Principal Caden: A minor character representing the broader community’s involvement in dealing with the aftermath of Susie’s murder. A mature actor over 30 years old. Grandma Lynn: Susie’s paternal grandmother, who provides support and stability for the family after Susie’s death. A mature actress over 50 years old. Franny: Susie’s guide in her afterlife, helping her navigate her new existence. An actress over 18 years old. Mr. Singh: Ray’s father, who supports his son through the ordeal. An actor over 35 years old. Holiday: The Salmon family dog who senses Susie’s presence. A young actor aged 16 or older. Ruana Singh: Ray’s mother, who is sympathetic and understanding. An actress over 35 years old. Samuel Heckler: Lindsey’s boyfriend, who becomes close to the Salmon family. An actor over 18 years old. Mrs Flanagan: A neighbour in Susie Salmon’s community, embodying the typical "nosey neighbour" trope. A mature actress over 40 years old. Other Roles: Additional characters such as GIRL, COPS, DOGS in Heaven, and The VANISHED GIRLS – Flora, Leah, and Wendy. Other information: Note we will be looking for actors who can play multiple roles for many of the characters. Suggested characters in multiple roles are: Len Fenerman / Samuel Ruana Singh / Franny Grandma Lynn / Mrs Flanagan Ruth Connors / Buckley Salmon Ray Singh / Principal Caden

Underground Theatre Company’s production of Rotterdam , written by Jon Brittain, is a beautiful work that explores the complexities of gender identity, self-discovery, and the fluidity of human experience. Directed by Tai Kane-Potaka , this play doesn't shy away from the harsh realities of changing identities and societal labels, but also finds moments of joy and humour amidst the challenges. After seven years in a relationship with her girlfriend, Alice is finally prepared to reveal her lesbian identity to her parents when Fiona drops a bombshell - he's always felt like a man born in a woman's body and is wanting to embrace life as Adrian now. This revelation leads Alice to question her own sexuality - does this make her straight? And as if that wasn't enough, throw in Alice's ex-boyfriend/BFF/Adrian's brother Josh, and the lively lesbian co-worker Lelani into the mix for some extra spice. Join Alice and Adrian as they navigate life in their cozy apartment in Rotterdam, Netherlands. Aimee Sheather has created a set that is both intimate and inviting, complete with twinkling lights, a sofa, a coffee table, and a kitchen island, setting the perfect backdrop for the domestic scene where most of the action unfolds. The set immediately pulls us into these characters' lives as Alice frantically types on her computer while Fiona dances around the apartment to combat boredom. Quinny Niamh captures the emotional and physical hurdles of transitioning from Fiona to Adrian. The audience is taken along on this journey with Adrian, witnessing moments of frustration, isolation, and excitement, all of which are portrayed with a genuine emotion. Quinny's heartfelt performance highlights the resilience and bravery needed to undergo such a profound personal transformation. Rachael Woodnett delivers a captivating performance in the role of Alice. She brings to life the internal struggle and emotional turmoil that Alice experiences as she grapples with her partner's transition and confronts her own sexuality in the process. Rachael's portrayal is marked by a deep vulnerability as she grieves the loss of her girlfriend in private, enabling the audience to deeply connect with Alice's perspective. The dynamic between Adrian and Alice is particularly compelling. Their arguments are raw and highly realistic, allowing the audience to empathise with both characters. Adrian's line, “I’m not asking to change the world, I just want to be seen for who I am,” is especially moving. Since the show was only performed for a single weekend, I feel comfortable spoiling that the bittersweet breakup scene is profoundly impactful. Alice’s realisation that she cannot compromise her own identity, despite her love for Adrian, is both heartbreaking and empowering. Stephanie Hope brings a refreshing lightness to the story through her portrayal of Lelani, the lively and chatty Dutch girl at Alice's workplace. The character's charm and playful demeanour, combined with Stephanie's excellent comedic timing and flawless accent, make her a magnetic presence in every scene. As Lelani introduces Alice to the vibrant side of Rotterdam, the undeniable chemistry between them is palpable. Jackson Paul completely embodies the character of Josh, Alice's former partner and Adrian's big brother. Let's applaud his character in handling the drama of his ex dumping him for his sister, then stepping up to help his sister's transformation into Adrian. Jackson fits into this role like a glove, effortlessly juggling that mix of slightly clueless but sweet and highly supportive yet firm in setting boundaries. Under the direction of Tai Kane-Potaka, Rotterdam becomes more than a play about gender and sexuality; it’s a powerful narrative about personal growth and the challenges of change. It fearlessly dives into the gender identity maze, showing how one person's transformation can shake up the world around them. I especially enjoyed the analogy of our transition from having a Queen to a King, after seven decades of it being the norm, to illustrate that change takes time, patience, and understanding. The Queensland Multicultural Centre provides an ideal backdrop for this short narrative, offering a modern and comfortable space. Inventive elements like bubbles to simulate weed smoke, and balloons and confetti for fireworks, add a whimsical touch, while the lighting and sound design by Ee Thung and Hannah Page further enhance the friendly and intimate ambiance. From start to finish, Rotterdam captivates with its raw emotions, witty dialogue, and stellar performances. The audience's response—laughter, gasps, and moments of palpable silence—testifies to its impact. At a time when discussions about gender identity and sexuality are becoming more prominent, Rotterdam is an important piece that opens up conversations about acceptance, understanding, and the importance of being true to oneself. The Underground Theatre Company's production is a shining example of how theatre can challenge conventions, celebrate diversity, and push boundaries. Rotterdam is a triumph for the company, engaging, thought-provoking, and beautifully executed, leaving a lasting impression on this reviewer.

Title: Honeymoon in Vegas Presented By: Gold Coast Little Theatre Genre: Musical, Comedy Synopsis: This musical is a high-flying romantic comedy set against the glamorous backdrop of Las Vegas. Through a very surprising love triangle, this story shares a satirical look at love and commitment, devotion to family and the fear of loss. This piece allows us to not only laugh but also reflect deeply on meaningful connection and protecting those we love. The mystique of Vegas provides an exciting opportunity for an energetic ensemble cast to perform authentic, character-driven work in a heightened world. Written By: Music and Lyrics by Jason Robert Brown Book by Andrew Bergman Audition Dates: Saturday, 3rd August Sunday, 4th August (if required) Audition Times: Dance Audition (Group): Registration: 9:30am All Auditionees: 10:00am - 11:00am Advanced Dance: 11:00am - 12:00pm Vocal Audition (Individual): Individual slots assigned upon receipt of audition application Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough St, Southport (Behind the Westpac Bank building) Audition Requirements: Audition registration forms must be submitted by Thursday, 1st August. All auditionees must attend both choreography and individual vocal auditions. Auditionees should prepare two contrasting songs in the style of the show (approximately 32 bars or 1 minute each), provide their own digital backing, and be prepared to cold read from the script. A comprehensive rehearsal schedule will be made available at the beginning of the rehearsal process.   Audition Registration: Click here Audition Pack: Click here Warnings: Some costuming will reflect the look of Vegas showgirls as well as holiday clothing such as swimwear and bikinis. All costuming will be a collaborative experience between successful cast and the creative team to ensure comfort and safety to perform at their best. Successful auditionees cast in female dancing roles will be required to provide their own chorus heels and tights. Required Age: 18 years or older Available Roles: Jack Singer : Lead, Male, 25 - 30, Vocal range: Ab2-G#4 Betsy Nolan : Lead, Female, 25 - 30, Vocal range: F#3-Eb5 Bea Singer : Supporting, Female, 50 - 70, Vocal range: G3-E5 Tommy Korman : Lead, Male, 40 - 50, Vocal range: F2-G4 Buddy Rocky : Supporting, Male, 25 - 40, Vocal range: A2-G4 Johnny Sandwich : Supporting, Male, 30 - 50, Vocal range: D3-G4 Roy Bacon : Supporting, Male, 25 - 40, Vocal range: B3-Ab4 Mahi : Supporting, Female, 20 - 40, Vocal range: A3-F#5 Teihutu : Supporting, Male, 20 - 40, Vocal range: C#3-D#4 Raymond : Supporting, Male, 20- 50, Vocal range: G2-F#4 Featured Ensemble : Various roles including Alex, Rose, Featured Dancers, Elvis Impersonators, Hotel Staff, Tourists, Taxi Drivers, Salesmen, Card Players, and Ticket Agents Creative Team: Director : Tony Campbell Musical Director : Julie Whiting Choreographer : Natalie Cassaniti Choreographer : Andrew King Production Website: Gold Coast Little Theatre Auditions