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Title : Grimm Tales Presented By : Shine Performing Arts Academy Genre: Gothic Theatre Synopsis: Step into a dark hall with an eerie atmosphere and explore the chilling original Grimm tales of Cinderella, Rapunzel, and more. This 50-minute production combines physical theatre, ensemble speaking, and gothic theatre conventions to bring these classic stories to life in a uniquely unsettling way. Audition Date: Wednesday, 24 July Audition Time: 4:30pm - 6:00pm Audition Location and Address: KSP Theatre, 1-17 Maitland Rd, Burpengary QLD Audition Requirements: Participants will engage in a cold reading from the script. No prior preparation is needed. Auditions are for experience and to allocate roles. Available Roles: Various Roles: Based on the dark Grimm tales, including characters from Cinderella, Rapunzel, and other classic stories. Audition Registration : Sign up here Audition Pack: View the audition pack Required Age : 12 - 18 years old Performance Date: Saturday, 19 October Performance Time: 7:30pm - 8:30pm Performance Location: Petrie School of Arts Hall Rehearsal Dates: Every Wednesday during Term 3 and Term 4 (Term time) Rehearsal Times: 4:45pm - 6:00pm Director : Paula-Mary Camilleri Other Information: Class Tuition Fees: $180 (covers two terms of tuition, which includes vocal expression, characterisation, and physical theatre training. Payment plans are available if needed.) All students who audition are guaranteed a place in this production. The auditions are for experience and to best allocate roles.

Title : ‘Twas The Week After Christmas Presented By: Shine Performing Arts Academy Genre : Festive Musical Synopsis : ‘Twas The Week After Christmas is a hilarious and heartwarming story about what happens when the North Pole loses the Christmas Spirit. Years have passed since the Elves and Reindeer have gotten along, with Reindeer egos high and Elves’ productivity low. Will a week of vacation help remind everyone what Christmas is all about? Audition Date: Tuesday, 23 July Audition Time: 4:30pm - 6:00pm Audition Location and Address: KSP Theatre, 1-17 Maitland Rd, Burpengary QLD Audition Requirements: Participants will take part in a dance audition, which includes learning a small movement section at the audition. They will also be taught a section of a Christmas carol to present to the creative team. Those auditioning for specific characters will read from the script in small groups. Comfortable clothing and a water bottle are recommended. Available Roles: Storytellers: 1 & 2 Santa Mrs. Claus Reindeer: Rudolph, Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, Blitzen 2nd-Tier Reindeer: Barnaby, Roberto, Gideon, Tulula, Leopold, Luigi, Miriam, Medula Elves: Cinnamon, Peppermint, Coco, Glitter, Candy, Gumdrop, Licorice, Tinsel, Ginger, Nutmeg There are over 35 roles available, providing many opportunities for performers to shine on stage. Audition Registration: Sign up here Audition Pack: View the audition pack Required Age: 7-14 years (Older students may play roles such as Santa and Mrs. Claus) Performance Dates: Wednesday, 18 December; Thursday, 19 December; Friday, 20 December; Saturday, 21 December Performance Location: KSP Theatre, Burpengary Rehearsal Dates: Every Tuesday during Term 3 and Term 4 (Term time) Dress Rehearsals: Monday, 16 December and Tuesday, 17 December Rehearsal Times: 4:45pm - 6:00pm Creative Team: Director: Paula-Mary Camilleri Musical Director/Choreographer: Eli Ball Other Information: Production Fees: $195 (includes tuition for two terms, costuming, and script). Payment plans are available. Costume Fee: $35 All students who audition are guaranteed a place in the production. The auditions are for experience and to best allocate roles.

Title : Lord Mayor’s Christmas Carols 2024 Presented By : Brisbane City Council, produced by The Little Red Company Genre : Festive Event Synopsis : The Lord Mayor’s Christmas Carols is an absolute must-attend festive event that highlights world-class talent and delights audiences with uplifting music, special surprises, and bucketloads of heart. Taking place at Brisbane’s Riverstage and broadcast to a national audience of more than 1 million viewers every year, this event is an initiative of Brisbane City Council and produced by The Little Red Company. Audition Dates: Little Red Carols Quartet: Wednesday, 21 August and Thursday, 22 August The Jingle Belles: Saturday, 24 August The Mistle Toes: Sunday, 25 August Little Red Carols Choir: Monday, 26 August Audition Time: Specific times will be communicated upon registration. Audition Location and Address: Thomas Dixon Centre (home of Queensland Ballet), 406 Montague Road, West End Audition Requirements: To submit your application, you will need approximately 10-15 minutes. When asked to upload a photo, please choose a clear headshot style image (head and shoulders only). Available Roles: Little Red Carols Choir: Emerging vocalists, 16 years and over Little Red Carols Quartet: Emerging vocalists, 18 years and over The Jingle Belles: Professional dancers, 18 years and over The Mistle Toes: Children’s ensemble, 6 to 12 years old Audition Registration: Apply here Performance Dates: Early December (Exact date to be announced when the Lord Mayor officially launches Christmas in Brisbane later in the year) Performance Location: Brisbane’s Riverstage Required Age: The Mistle Toes: 6 to 12 years old Little Red Carols Choir: 16 years and over The Jingle Belles and Little Red Carols Quartet: 18 years and over Production Website: The Little Red Company Other Information: The Little Red Company is fiercely dedicated to representation and inclusion. We strongly encourage people of all cultural backgrounds and gender expressions or with access requirements to apply. If you have any specific access requirements, please let us know in the application form so we can support you through the audition process. The Jingle Belles and Carols Quartet are paid positions. The Mistle Toes and Carols Choir are voluntary roles.

Title:  The Little Mermaid Jr. Presented By:  Phoenix Ensemble and Phoenix Arts Academy (PAA) Genre:  Musical Theatre, Family Synopsis:  Journey "under the sea" with Ariel and her aquatic friends in Disney's The Little Mermaid Jr., adapted from Disney's Broadway production and the motion picture (featuring the enormously popular Academy Award-winning music and delightfully charming book and lyrics). Based on one of Hans Christian Andersen's most beloved stories, Disney's The Little Mermaid Jr. is an enchanting look at the sacrifices we all make for love and acceptance. In a magical underwater kingdom, the beautiful young mermaid, Ariel, longs to leave her ocean home – and her fins – behind and live in the world above. But first, she'll have to defy her father, King Triton, make a deal with the evil sea witch, Ursula, and convince the handsome Prince Eric that she's the girl whose enchanting voice he's been seeking. Audition Date:  Saturday, 13th July Audition Time: Junior/Intermediate Dance Call: 9:30am-10:30am Morning Individual Auditions: 10:30am-12:00pm Afternoon Individual Audition Slots: 1:00pm-4:00pm Senior Dance Call: 4:00pm-5:00pm Audition Location and Address:  Phoenix Ensemble, Beenleigh Showgrounds, James Street, Beenleigh Audition Requirements: One 60-90 second excerpt of any Disney song (avoid songs from The Little Mermaid) Digital backing tracks on a device that can connect via Bluetooth, AUX, or dongle One scene from the selected sides (provided in the audition pack) Participation in a group dance call Available Roles: Ariel:  Female presenting, Vocal Range: B♭ - E♭ Prince Eric:  Male presenting, Vocal Range: B - D Sebastian:  Any gender, Vocal Range: G - B King Triton:  Male presenting, speaking role only (no singing) Ursula:  Female presenting, Vocal Range: F - C# Flounder:  Any gender, Vocal Range: G - D♭ (Junior/Intermediate student will be cast) Flotsam & Jetsam:  Male presenting, Range: C - C# Scuttle:  Any gender, Vocal Range: B - E Grimsby:  Male presenting, Vocal Range: E - C Ensemble Groups & Featured Roles:  Various roles including Mersisters, Princesses, Chef Louis, Carlotta, The Pilot, Sailors, Sea Chorus, Sea Creatures, Seahorse, Merfolk, and Seagulls Audition Registration:   Register Here Audition Pack:   Download Here Performance Dates: November 15th:  7:00pm November 16th:  2:00pm and 7:00pm Performance Location:  Phoenix Ensemble, Beenleigh Showgrounds, James Street, Beenleigh Rehearsal Dates: During class time throughout Term 3 and 4 Saturday Rehearsals:  12th and/or 26th October Tech Week Rehearsals: Monday, 11th November: 5:00pm-8:00pm Tuesday, 12th November: 5:00pm-8:00pm Wednesday, 13th November: 5:00pm-8:00pm Creative Team: Director:  Hayley Gervais Vocal Director:  Kym Brown Choreographer:  Elana Piggott Assistant Director:  Angelina Mustafay Production Website:   Phoenix Ensemble Other Information: All auditionees must be students enrolled in Terms 3 and 4 of PAA Phoenix Ensemble encourages diversity in casting and welcomes performers of all backgrounds

Title: Mother & Son Presented By : ACT1 Theatre Genre : Comedy/Drama Synopsis: Written by Geoffrey Atherden, "Mother & Son" is one of the best Australian series ever made, now brought to the stage by ACT1 Theatre. "Mother & Son" centres on the relationship between Maggie, who is becoming more than a little forgetful, and her middle-aged son Arthur, who moves in with her when his father dies and never leaves. The series delighted audiences because it reflected real-life situations and maintained the dignity of Maggie, whose cunning saw her win in most episodes. Audition Date: Saturday, 27 July Audition Time: From 1:00 PM Audition Location and Address : ACT1 Theatre, Old Shire Hall, 238 Gympie Rd, Strathpine QLD Audition Requirements: Send a private message or email to express your interest and specify which character you are auditioning for. Available Roles: Maggie: The mother, mid to late 70s Arthur: The younger son, 40s Robert: The older son, late 40s Liz: Robert’s wife, mid 40s Anita: Arthur’s girlfriend, late 30s/early 40s Monica: Nursing home or hostel resident, 70s Steve: Aged Care Assessor Bronte: Maggie's granddaughter, 11 (pre-recorded video segment) Jarrod: Maggie's grandson, 9 (pre-recorded video segment) Performance Dates: 22 November to 7 December Production Website : ACT1 Theatre

Title : 13 JR. Presented By: Second Star Youth Theatre Genre: Musical Theatre Synopsis: With an unforgettable rock score from Tony Award-winning composer Jason Robert Brown, "13 JR." is a musical about fitting in and standing out! Just months away from his Bar Mitzvah, Evan Goldman is plucked from his fast-paced, preteen New York City life and plopped into a sleepy Indiana town following his parents' divorce. Now the new kid at school, he needs to establish his place in the popularity pecking order or else his Bar Mitzvah could be a complete flop! Can he situate himself on a comfortable link of the food chain... or will he dangle at the end with the outcasts?!? Second Star Youth Theatre is thrilled to present the South-East QLD premiere of the newly-released Junior version. Audition Date: Saturday 24 and/or Sunday 25 August Audition Time : Afternoon Audition Location and Address: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Audition Requirements: Second Star Youth Theatre uses the iTheatrics method for auditions, involving a workshop where auditionees learn an ensemble song from the show and perform it for the creative team and fellow cast mates. No preparation needed. Available Roles: Evan Goldman: A good-hearted kid wrapped up in popularity struggles. Patrice: Clever and a bit shy, an outcast at school. Archie: Patrice’s best friend with a dark sense of humour. Kendra: The most popular girl in school, genuinely nice but naïve. Lucy: Kendra’s best friend, a manipulative mean girl. Brett Sampson: The stereotypical cool guy, athletic but not very bright. Eddie and Malcolm: Brett’s best buddies. Cassie, Charlotte, Molly: Cheerleaders and friends of Lucy and Kendra. Simon, Richie: Members of Brett’s entourage. Ensemble: School students entangled in cliques, gossip, and popularity. Audition Registration: Register Here Audition Pack: Download Here Performance Dates: Saturday, 28 September 2024 Performance Times: 2:00 PM and 6:00 PM Performance Location: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Rehearsal Dates: Monday 23 to Friday 27 September Rehearsal Times: 9:00 AM to 4:00 PM Warnings: PG-rated show with themes of bullying, prejudices, ableism, puberty, and early stages of romantic exploration. Recommended Age: 10-18 years old Creative Team: Director/Music Director: Lauren McNamara Choreographer: Sonya Wyer Other information: Participation Fee: $280 per participant, including GST. This fee covers rights, royalties, creative and technical professionals, venue hire, sets, props, costumes, marketing, and more. Each participant receives a script, production t-shirt, dinner on performance day, an audition workshop, and a full week of tuition. For more information, contact us at secondstaryouththeatre@outlook.com  or follow us on social media @secondstaryouththeatre.

Title:  The 39 Steps Presented By:  Tugun Theatre Genre:  Comedy, Mystery Synopsis:  Follow the thrilling adventures of Richard Hannay as he navigates a web of intrigue and espionage. This fast-paced comedic mystery features multiple characters and an unforgettable storyline, providing a unique and entertaining theatrical experience. Audition Date:  Monday, 19th August 2024 Audition Time:  7:30pm Audition Location and Address:  Tugun Theatre Hall, 414 Coolangatta Rd, Tugun QLD Audition Requirements: Cold read of excerpts from the script Open to actors aged 18+ Available Roles: Richard Hannay: Male, aged 18-70 Annabella Schmidt/Pamela Edwards: Female, aged 18-70 Clowns (2 roles): Open age and gender, must be 18+. Each actor will play 16 characters. Performance Dates: November 14th - 30th Performance Location:  Tugun Theatre Rehearsal Dates:  Monday and Thursday nights (dates non-negotiable) Directyor:  Rianna Hartney-Smith Production Website:   Tugun Theatre Auditions Enquiries:  Contact Rianna Hartney-Smith at rianna94@hotmail.com

The performance of Godspell  by Footlights is a delightful rendition that revitalises Stephen Schwartz's timeless musical with energy, humour, and heart. The music is a wild mixtape with something for everyone, spanning from upbeat pop to poignant ballads, traditional vaudeville, folk melodies, and lively acapella. I had no prior knowledge of this show before attending, so here's a quick rundown: a quirky group of people team up with Jesus Christ to creatively narrate various parables through a variety of games, storytelling styles, and song. Director Isaac Brown has assembled a talented ensemble of ten individuals. These folks are like the Avengers of the performing arts world; being required to excel in singing complex harmonies and solos, demonstrate stamina in dance, deliver compelling acting, and fearlessly participate in spontaneous improvisation. These actors are like ninjas, constantly moving around the stage and theatre, pulling the audience into the action. You might even get picked for a starring role if you're brave enough to sit in the front row! Plus, the cast's enthusiasm is so palpable, you'll feel as though you've just downed a gallon of espresso!   Bailey Griffiths embodies the character of Jesus in a delightful manner. Imagine this: Jesus stepping into the role of your drama teacher, trying to wrangle a bunch of hyperactive students (yes, even us in the audience) with the same grace and finesse as Maria from The Sound of Music . Griffiths is multi-talented with killer vocals in "Beautiful City", smooth dance moves, ukulele skills, and compelling acting, Even when embodying a solemn character, he infuses his performance with a sprinkle of humour and a wealth of lively energy, capturing the essence of the beloved historical figure in every moment. Dominic Bradley  and William Chen  are the dynamic duo of improv and comedy gold, always delivering quick-witted one-liners. Whenever Jesus dropped one of his trademark rhetorical questions, I was all ears for Dom or Will's response, as I knew it would be hilarious. Erin Hall’s  sweet rendition of "Day by Day" is like a shot of happiness straight to the heart as it transforms into an uplifting group anthem. Her voice possesses a captivating combination of purity and power. Lilly Betts' puppet-aided "Learn Your Lessons Well" is a whimsical favourite, showcasing her versatility and charm. Holly Siemsen  delivers a soulful performance with "Bless the Lord," her voice soaring beautifully through the church and her energy so contagious, it feels like she's throwing a party and everyone's invited to join the fun! Mark James possesses the most natural comedic flair, making him a joy to watch, particularly in the energetic closing number of Act One, "Light of the World." The second act is rich with emotionally charged moments - Amanda Devlin 's expressive facial acting brings a profound depth of feeling, while Dom Bradley trades in his jokes for a heart-wrenching performance as Judas. His rendition of the hauntingly beautiful "On the Willows" marks a pivotal point in the emotional arc of the story that highlights his hidden depths as a performer. The heartfelt performance of "All Good Gifts" by Will Chen  was the perfect uplifting song to soothe me after the chaos of my journey to the show (thanks to a not-so-little car crash). "We Beseech Thee," led by the exuberant Isaac Tibbs , is a crowd-pleaser as he shamelessly engages in exaggerated theatrics to enhance the comedic effect. Featuring the powerful voice of Hannah Macri , "Turn Back, O Man" is a sultry and stunning number that becomes one of the standout moments of the show. In contrast, the beautiful vocal harmonies in "By My Side," led by Amanda Devlin , offer a delightful change of pace from the more lively numbers. Isabelle Quayle’s  choreography is whirlwind of energy, perfectly matching the high-octane score. Her tap/jazz extravaganza "All for the Best" is a showstopper that is exhilarating to watch and undoubtedly tiring to execute. The crucifixion and resurrection scenes are handled with sensitivity, offering an impactful climax to the show. The finale is a joyous explosion of movement and music, capturing the spirit of camaraderie and celebration that defines the show. Admittedly, the vocals may seem a bit fatigued, but can you really blame them? Considering the cast's non-stop presence on stage and their intense physical performance, it is understandable. These performers give it their all; like energiser bunnies that just keep going and going. The staging, with its in-the-round configuration, adds to the challenge, but the cast navigates it with aplomb. The performers only need to keep in mind that they are very close to the audience and have microphones, so there is no need to exert extra effort in projecting their voices. I believe most of the vocal strain arose from the artists competing to sing louder than one another, which is not required in this small space. The only other issue is that I am a mere mortal with only one pair of eyes and ears, so unfortunately I can't pay attention to everyone simultaneously like I wish I could. Isaac Brown’s  direction is innovative, blending scripted moments (about 40% of the show) with pre-scripted improv and spontaneous moments to keep the audience on their toes. He guides the ensemble in balancing humour with the heartfelt themes of kindness, tolerance, and love. The costume choices combine elements of hippie fashion, with comfortable and playful outfits that reflect the joyous nature of the musical while also grounding it in a contemporary context. And the clever pop culture nods sprinkled in? They add a contemporary touch that hits the right spot with today's crowd. Isaac's directorial vision is clear: to create a show that is both entertaining and thought-provoking, and he succeeds brilliantly. This production of Godspell  is a testament to the incredible talent within Brisbane’s theatre community. The cast, direction, music led by Benjamin Richards, and choreography combine to deliver a memorable experience. While some additional rehearsal could polish the intricate harmonies and extensive choreography, the sheer talent and passion of the cast are undeniable. Whether you're familiar with the parables or not, Godspell is like a warm hug for your brain and a tickle for your funny bone. It's all about celebrating community, faith, and spreading love like confetti. So grab yourself a ticket before it closes on July 13! Tickets available here

Famished Future Feeders at Metro Arts is an evocative journey into a dystopian future, brought to life by a talented ensemble of TAFE Queensland Acting alumni. Co-directed by Lisa O’Neill and Anatoly Frusin, this production stands out for its blend of absurdity, dark humour, and stark social commentary. Set and Storyline The narrative unfolds in a bafflingly backward yet advanced future, where famine, energy and environmental crises are resolved at the cost of freedom and... human flesh. As you enter the New Benner Theatre, you are welcomed by house techno music playing while actors in strange outfits portray somber scenes before the show begins. The set, designed by Hamish Chappell, juxtaposes the futuristic with the primitive, plunging the audience into a world that has progressed and regressed simultaneously. The opening act is a flurry of concurrent scenes, accompanied by swift lighting changes and rapid dialogue that conveys the sense of urgency and disorder to reflect the dystopian backdrop. It is clear that both the actors and the crew have extensively rehearsed, guaranteeing seamless dialogue and transitions that demand the complete attention of the audience in order to keep up. Subsequent acts focus on deeper character exploration, allowing for a more measured pace to digest the complex themes.   Performance Highlights The group of eight actors deliver such compelling performances that their characters stand out as some of the most interesting I have encountered in community theatre recently. Lachlan Orton and Aaron Whitney impress as couple Lynx and Byte, with their rapid and energetic dialogue exchanges that are maintained throughout the play. Lachlan Orton (who resembles Alan Cumming with an uncanny familiarity), delivers a nuanced performance as Lynx, a character navigating life in a controlled society and a broken family with endearing flair. John Ford, as Ham, is a standout from the get-go, offering a blend of humour and horror as a cannibal (it's legal!). Ford’s eccentric delivery and physicality bring an unexpected lightness to a dark role. Jules Broun captivates as Iggy with a brilliant accent and expressive physical performance. The scenes between Ford and Broun are highlights of the production, their interactions offering both comedic relief and poignant commentary on the struggles of the lowest social class. Even when they are not the central focus of a scene, the dominant expressiveness of Georgina Sawyer (as Dove) and the raw intense emotion of Peta Kishawi (as Doe) captivate and draw my attention. Peter Hatton’s Leo emerges strongly in the second act. His portrayal of a wealthy individual tormented and unravelling from hidden secrets adds layers of intrigue and tension. Hatton’s scenes with Milan Bjelajac (as Fuge a freedom fighter), show a particularly compelling contrast between privilege and rebellion. Bjelajac's performance is characterised by intense physicality and emotional fortitude; his revolutionary passion culminates in a frenzied yet impactful monologue. The interconnectedness of all these characters becomes clearer as the show progresses. Themes and Messages Every element is designed to pull the audience into the world of Famished Future Feeders . The portrayal of human hunting grounds, limited food rations, lack of free education and democracy, and segregated societies of the privileged and the underprivileged, paints a grim picture of what might lie ahead. While the script is full of zingers and clever one-liners, it is the more profound statements like, "The selfless helps the selfish. And no one is left to help the selfless," that linger with me. The storyline is frustratingly familiar, reflecting societal issues like class inequality, climate crisis, and diminishing freedoms. This is especially resonant for audiences who are familiar with the current social atmosphere of West End in Brisbane, just near the theatre where we were seated. The audience's reaction throughout the performance is a testament to the play’s impact. There are audible gasps during moments of revelation, laughter during the comedic exchanges, and a palpable tension during the darker scenes. The production effectively triggers a range of emotions, ensuring that the audience remains engaged and responsive. Sound, Lighting, and Costume The sound design complements the visual and narrative elements. From the music that establishes the initial atmosphere, to the violent slashing sounds, to subtle effects that elevate pivotal moments; like during Fuge's revolutionary speech I swear I could hear an underscored chanting of "Kyrie Eleison." Geoff Squires’ lighting design is crucial, particularly in the opening act, with lightning-fast changes distinguishing the simultaneous scenes. The vibrant costumes aid in creating the futuristic yet devolved world. Each imaginative outfit reflects the characters’ societal roles and personalities, my favourite being the fish slippers. Famished Future Feeders  is a must-see for an intellectually stimulating and emotionally charged theatrical experience that is both entertaining and enlightening. It is a show that demands to be seen, discussed, and remembered. So if you're ready for an epic existential crisis and a night of unique and compelling theatre, grab a ticket before it closes on July 13. Tickets available here

Title:  Disney's ALICE IN WONDERLAND Jr. Presented By:  ROCKIT Productions Genre:  Musical Theatre Synopsis:  Fall down the rabbit hole with Alice as she navigates the whimsical world of Wonderland in this enchanting Disney classic. Alice's journey through Wonderland is filled with fantastical characters like the White Rabbit, Cheshire Cat, Mad Hatter, and Queen of Hearts. This updated adaptation features a blend of songs from the 1951 animated film and the 2010 live-action remake, promising an adventure of imagination and fun for all ages. Audition Date:  Saturday 27th July Audition Time:  10:30am - 4:15pm Audition Location and Address:  ROCKIT LAUNCHPAD STUDIOS, 36 Old Cleveland Road, Capalaba Audition Requirements: Please note that all enrolled students will automatically be included in the production, and auditions optional for this age group. If participating, students will be organised into small groups for a 105-minute block We like to workshop items and play to find the best role for each person.  Available Roles:  Various roles for JUNIOR (Prep to Grade 6) students Audition Registration: Registration Link Performance Dates: Sunday 3rd November  (2 Shows) Saturday 9th November  (2-3 Shows) Sunday 10th November  (2-3 Shows) Performance Location:  THE LAUNCHPAD THEATRE, 36 Old Cleveland Road, Capalaba Rehearsal Dates: Full Day Rehearsals:  17th August (Times TBC), 12th October (Times TBC) Extended Rehearsals:  15th, 22nd, 29th October, and 5th November Rehearsal Times:  Tuesdays 3:45pm - 6:30pm (extended rehearsals), JUNIORS 1 (G3-4) 4:00 - 5:45pm, JUNIORS 2 (G5-6) 4:15 - 6:00pm Weekly Classes Start:  Tuesday 9th July Production Website:   ROCKIT Productions

Redcliffe's Theatre 102 is currently hosting one of the most intense and enjoyable theatrical experiences of 2024, as Ghostlight Theatre and Redcliffe Musical Theatre present the Australian premiere of " The Exorcist ." This adaptation of William Peter Blatty's famed novel, which became a classic horror film in 1973, is set to possess the audience with its gripping and disturbing performance, directed by Yasmin Elahi.   This stage adaptation of "The Exorcist" employs a combination of innovative staging techniques, special effects, and intense performances to bring this classic horror story to life. The production plunges the audience into an intense battle of good versus evil as young Regan MacNeil, after experimenting with a Ouija Board, starts displaying unsettling and violent behaviours. Her desperate mother, Chris, seeks medical help, but conventional treatments fail to explain or ease Regan's terrifying symptoms. As events escalate, Chris turns to the church for help and meets Father Damien Karras, a priest grappling with his own crisis of faith. With the help of experienced exorcist, Father Merrin, they join forces to combat the evil force inhabiting Regan. As the battle for Regan's soul reaches its climactic conclusion, the audience is left to ponder the profound questions raised by this timeless tale of terror. From the moment you step into the theatre, the immersive atmosphere takes hold. The ambient sounds of rain, creaking, and distant thunder create a foreboding sense of unease. The decision to forgo the traditional curtain and reveal the set immediately draws the audience into the world where young Regan's harrowing ordeal unfolds. Regan's bedroom is the central focus of the stage, with a living area and attic situated on the opposite side. The clever use of lighting effectively distinguishes between these areas, often employing a split-screen technique that highlights concurrent scenes. Kaitlyn Harding's portrayal of Regan is nothing short of phenomenal. Double-cast with Charlotte Rubendra, both actresses were chosen for their exceptional talent, and it's easy to see why. From the  onset, Kaitlyn convincingly embodies Regan's youthful innocence and playful na ture, as well as her deep longing for her father amidst her parents' upcoming divorce, despite the actress' actual age . She captures Regan's evolution from a spirited young girl to a vessel of terror with haunting precision; her chilling screams echoing through the theatre and eerie facial expressions in her demonic portrayal are genuinely unsettling. This raw, visceral interpretation of Regan's torment is both captivating and draining to witness. Ali Morgan delivers a deeply affecting performance as Chris, Regan's mother. She skilfully conveys a range of emotions, from genuine concern to palpable fear and frustration, while helplessly watches her daughter's troubling actions unfold. Despite being new to the theatre scene, Ali's natural acting abilities shine, enabling viewers to connect with her character's turmoil regarding both Jamie and Regan. Additionally, she happens to be the creative force behind the intricate gory makeup too. Jabade Brown-Oakes initially comes across as somewhat rigid in his portrayal of Father Karras, as though he is overthinking his delivery. Nevertheless, as the play unfolds he hits his stride, particularly in the pivotal scenes involving the demon. Scott Black's portrayal of Father Merrin, making an iconic entrance in Act 2, brings a commanding presence to the stage, embodying the experienced exorcist with a mix of gravitas and determination, tinged with his underlying sense of dread. Reagan Warner's voice as the demon is perfect—raspy, menacing, and merciless. The use of the theatre's surround sound system to project the demon's voice adds a haunting, immersive quality, creating the sensation that the demon is creeping into your ears from all angles. The supporting cast deliver solid performances, contributing to the narrative's momentum. Kristy Smith-Wood portrays the strength and worry of Dr. Strong. Their interactions with Regan and the other characters are grounded in a realism that makes the unfolding horror all the more believable. James Reid as Dr. Klein brings a clinical detachment to the play, representing the medical community's bafflement at Regan's condition. His portrayal is marked by a steady composure that slowly unravels, mirroring the character's (and the audience's) increasing apprehension. Father Joe's character, often seen in moments of reflection and support, offers a contrast to the more intense figures of Fathers Karras and Merrin. Jonny Sweeper's portrayal captures the quiet strength and unwavering faith of a priest dedicated to his calling, even in the face of overwhelming evil. Adrian Mackay brings a lively energy to the role of Uncle Burke, the English drunk whose character provides a contrasting element of levity amidst the tension.   Director Yasmin Elahi's vision for an immersive horror experience is realised in every aspect of the production. The use of burning incense during church scenes, red lighting to signify the demon's presence, and the decision to have no house lights, thus enveloping the audience in darkness, maintain the suspenseful atmosphere throughout the performance. The audience's eerie silence (and hushed tones during intermission) are a testament to the show's gripping nature. The cabaret-style seating at this theatre is a favourite feature of mine because it creates an intimate atmosphere that makes the horror feel personal, akin to being trapped in a haunted house.   The technical aspects of the production are equally impressive. Special effects by Rowany Blackshaw are outstanding, including the blood, skin, urine, prosthetics, and even the infamous projectile vomit scene. Jonathan Johns is the mastermind behind the physical special effects. Witness with amazement as ordinary objects co me to life, to create that eerie sense of supernatural presence. The levitating scene, a nod to the iconic film moment, is a showstopper, leaving the audience in awe of the theatrical magic. By projecting the Ouija board responses onto the wall and briefly illuminating the horrifying face of the demon with strobe lighting, a dynamic connection is established between Regan (and the audience) and the supernatural entity, which remains visible only to us and Regan. The production of "The Exorcist" does not shy away from its most confronting aspects, delivering a shocking viewing experience. Regan's transformation is profoundly unsettling, characterised by the guttural voice, violent convulsions, and sacrilegious disdain for religion, echoing the infamous crucifix scene from the original film. Through the use of explicit language and extreme behaviours, the play pushes the boundaries of horror. Clearly not suitable for the faint-hearted, these components are essential to establish the deeply unsettling wickedness of demonic possession. Brisbane is incredibly fortunate to host this landmark production of "The Exorcist," a theatrical event that transcends the typical play and redefines the limits of live theatre. Securing the rights and earning the trust of the playwrights was a monumental achievement for Ghostlight Theatre. With stellar performances, masterful technical elements, and visionary direction, this is a must-see event for those willing to confront its intensity. Regardless of whether you're a fan of the film or unfamiliar with the story, it's irrelevant because this performance will captivate you and leave a lasting impression. Don’t miss your chance to witness this historic Australian debut firsthand. Secure your tickets now for an unforgettable journey into the heart of darkness. Now running until July 14th, 2024. Photographs by Alan Burchill Tickets available here

Title:  One Act Play Festival Presented By:  The Lind Lane Theatre Genre:  Drama, Comedy Synopsis:  Join us for a festival filled with love, light, and laughter as we present a series of one-act plays, each offering a unique blend of comedy and drama. Audition Date:  Saturday 15th July Audition Time:  7:00pm Callback Date:  Thursday 18th July Callback Time:  7:00pm Audition Location and Address:  Lind Lane Theatre, 16 Mitchell St, Nambour Audition Requirements: Cold reading from the script No preparation needed Open to all experience levels Available Roles: The Last Comedienne by Chris McKerracher  (directed by Victoria Bensted) Brooke Benson: Emcee of the contest Eleanor Brown: Newcomer to the comedy circuit. Needs to make a name for herself in comedy Mercedes Ellington: Cynical, jaded, faded circuit star on her fifth straight finale without a win. Fanny “Granny” Foote: Aged veteran of the circuit but first time in the finale Stroke by Mark Lucas  (directed by Sharon Kayrooz) Stacey Female. A forthright, dominant woman who is not to be messed around with. She can be fiery and is frequently frustrated by fools. Sandra Female. She is the ‘Yang’ to Stacey’s “Yin’ – the fool who frustrates. Not overly endowed with many brains, she is generally trusting and friendly. Myron Male. A ‘jive-talking’ blind white man with a persecution  complex who mistakenly thinks he’s black. Adele Female. The annoying wife of Myron, she is not blessed  with the greatest intellect but is good-hearted. Willpower by Roger Gimblett  (directed by Andrew Moon) Miles: early 20’s Male – kindhearted and decent. A ‘Greenie’ Dixon: mid/late 20’s Male – wealthy and stylish but cold Eleanor: Dixon’s sister. Mid/late 20’s female – pleasant but possibly a bit vacuous Sheila: Small role. A nurse. Female. Any age Mel: 60’s. Male. Rambunctious mining magnate Bus Riley’s Back in Town by William Inge  (directed by Nick Smith) Bus Riley – early/mid 20s, Navy, a “God” in Jackie’s eyes. Has become emotionally detached. Jackie Loomis – early/mid 20s, fallen on hard times, fragile, beaten down by her father and events. Salesman – 40-70, drunk, passing through and sad at what the town has become. Howie – manager of local bar, knows everyone, knows everything. Bernice Henry – 25-30, Jackie’s best friend from old. Desperate to protect Jackie from further heartache. A little overbearing. Ralph Henry – 25-35, loving husband to Bernice. Cares for Jackie greatly. Performance Dates: September 5th:  Evening performance September 6th:  Evening performance September 7th:  Matinee and evening performances Performance Location:  Lind Lane Theatre, 16 Mitchell St, Nambour Rehearsal Dates:  To be confirmed by the directors Rehearsal Times:  To be confirmed by the directors Production Website:   Lind Lane Theatre Auditions Enquiries:   thelind.production@gmail.com