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Title : Bluebell – The Musical Presented By : Shine Performing Arts Academy Genre : Family-Friendly Musical Synopsis: This vibrant and original musical tells the story of Bluebell, an Australian bush elf entrusted with a magical flower wand by the Elf Queen. Bluebell is determined to use the wand responsibly to help her friends. However, Axel the fox, alongside his mischievous accomplices, is plotting to steal the wand for his own gain. With larger-than-life characters, colourful costumes, and lively music, this show is designed for young audiences and promises a magical experience for the whole family. Audition Details Audition Dates: Friday 7th February | 4:00 pm – 5:30 pm Saturday 8th February | 9:00 am – 12:00 pm Audition Location and Address: KSP Theatre, Corner of Maitland Rd & Old Bay Rd, Burpengary, QLD, 4505 Audition Requirements: Performers will be taught a short song to sing for the creative team. A small dance sequence will be included, so wear clothes you can move in. Lead roles will involve cold reads from the script, both solo and in small groups. Dance ensemble auditions will include a more technical dance sequence; please dress accordingly. Note: Performers aged 18+ must have a valid Blue Card or proof of application to participate. Audition Registration: Audition Registration Form Audition Pack: Audition Pack Link Available Roles: Axel A cunning fox and the feared antagonist seeking the magical wand. Playing Age: 15+ Spike A sly thorny devil and Axel’s loyal accomplice. Playing Age: 15+ Skellie A clever, food-loving rat and another accomplice of Axel. Playing Age: 15+ Pinky, Violet, and Blossom Mischievous bush elves envious of Bluebell’s new responsibility. Playing Age: 8–15 Bluebell A spirited bush elf tasked with guarding the magical wand. Playing Age: 10–18 Tinsley A small, endearing mouse and one of Bluebell’s closest friends. Playing Age: 10–18 Duggy A humorous wombat with a love for tacos and a loyal friend to Bluebell. Playing Age: 14+ Buttons A sentimental bunny searching for her missing green button and a friend to Bluebell. Playing Age: 14+ Elf Queen A mature and powerful figure who entrusts Bluebell with the wand. Playing Age: 15+ Ensemble Vital in moving the story forward and featured in energetic songs and dance numbers. Playing Age: 8+ Dance Ensemble Performers in large dance sections requiring strong Broadway jazz skills (tap experience is a plus). Playing Age: 8+ Performance Dates: Friday 11th April | 7:30 pm Saturday 12th April | 2:00 pm & 7:30 pm Sunday 13th April | 2:00 pm Performance Location: Burpengary State Secondary College, Pitt Rd, Burpengary, QLD Rehearsal Dates: Fridays (Junior Ensemble): 3:30 pm – 5:30 pm Saturdays (Leads & Featured Ensemble): 9:00 am – 12:00 pm Whole cast rehearsals: Final two Saturdays before tech week. Tech Week: Monday 7th April – Thursday 10th April | 4:00 pm – 8:00 pm Rehearsal Location: KSP TheatreCorner of Maitland Rd & Old Bay Rd, Burpengary, QLD Other Information: Production fee of $120 includes a show T-shirt, script, one free ticket, and other costs. Payment plans are available. Some costume items may need to be provided by performers. Creative Team: Artistic Director: Paula-Mary Camilleri Music Director & Choreographer: Eli J. Ball Director: Teagan Fudge Production Assistant: Lauren Bull

Title:  The Fairy Queen Presented By:  Brisbane City Youth Ballet (BCYB) Genre:  Ballet About: Join BCYB this Winter in the enchanting fairyland of The Fairy Queen , where magical creatures and spirits await to whisk you away on an extraordinary journey. Audition Details: Audition Date:  Sunday, March 2, 2025 Audition Location and Address:  BCYB Studios, Millway St, Kedron Additional Information:  Dancers unable to attend in person may submit a video link as part of their audition. Audition Requirements: Dancers must be aged 7+ to audition. A compulsory audition fee of $22 per dancer must be paid prior to the audition. Audition Registration:   Register Here Rehearsal and Performance Season: Rehearsals  — at BCYB Studios, Kedron: Main Company:  June 28 – July 6 Junior Company:  June 29 – July 6 Petite Company:  June 30 – July 6 Performances  — at Brisbane Powerhouse, New Farm: All Levels:  July 4 – July 6 Costs: Main Company:  $1100 Junior Company:  $990 Petite Company:  $550 Production Website:   BCYB Official Website

Title:  Beans Means Love Presented By:  Outdoor Theatre Community Genre:  Comedy Synopsis: When a mysterious can of beans brings two strangers together, it seems like a perfect recipe for romance. But with a crystal enthusiast, a personified Common Sense, a naive can of beans, and a perpetually confused Greg in the mix, chaos is the only certainty. Performed at both the Moreton Bay and Brisbane Anywhere Festivals, this quirky and heartwarming comedy is sure to delight audiences. Audition Details: Audition Date:  March 1st Audition Time:  Group auditions, 1 hour per session, between 10am–4pm Audition Location and Address:  Lavalla Centre, Room 4, 58 Fernberg Rd, Paddington Audition Requirements: Prepare a 1-2 minute comedic monologue. Be prepared for cold reads and an improvisation activity. Wear comfortable clothes that allow freedom of movement. No gender requirements, but all auditionees must be 16 years or older. Audition Registration:   Register Here Audition Pack:   Download Here If you have questions, email otc.generalenquiry@gmail.com.au Available Roles : All characters are gender-neutral and use they/them pronouns (but can be adjusted to suit the actor). Chad:  A loveable “frat boy” who always follows their heart, even if it means overlooking common sense. Brave, loyal, and extremely romantic. Britney:  A sassy yet ditzy romantic who loves fiercely but falls out of love just as fast. Beans:  A personified can of beans with the innocence and naivety of a young child. Cheerful and oblivious to the absurdity of their world. Common Sense:  The exasperated narrator, embodying their name with no-nonsense wisdom. Crystal Homie:  An over-the-top crystal enthusiast who thrives on vibes, love, and soul-cleansing (for a fee). Greg:  A perpetually confused everyperson who finds themselves in the most bizarre situations. Works every job in town and has no idea how they got there. Impulsivity/Impie:  A personification of impulsive behaviour, eager to impress Common Sense and loathe to work with Caution. Caution/Cau:  A personification of cautionary behaviour, independent and averse to working with Impulsivity. Rehearsal and Performance Season: Rehearsals: Sundays (3pm–8pm) and Tuesdays (6pm–9pm). Fortnightly Sunday rehearsals between seasons. Performance Dates: Moreton Bay Anywhere Festival: May 8–25 Brisbane Anywhere Festival: July 18–August 3

A Magical First for Ballet Theatre Queensland Let me say this upfront: this is a show you do not want to miss. With a limited run, I urge you to secure your tickets before they vanish. A heartfelt thank you to Ballet Theatre of Queensland and Lucas Lynch for the privilege of attending this extraordinary opening performance and the post-show event where we not only celebrated this production’s incredible achievement, but it also unveiled BTQ’s exciting 2026 and 2027 productions. Snow White  draws the audience into a world where enchantment meets artistry. Choreographed by Clare Morehen with a mesmerising original score by Lucas Lynch, this world-premiere ballet marks a monumental milestone in Ballet Theatre Queensland's history. With over 250 creatives, volunteers, and artists collaborating behind the scenes, Snow White  is a breathtaking result of talent, vision, and artistic synergy. The production weaves a traditional fairytale with stunning choreography, brand-new music, and captivating design elements to create a performance that feels simultaneously grand and deeply intimate. While the Concert Hall at QPAC is typically used for orchestral performances, BTQ manages to transform it into a full ballet stage. It’s easy to understand why they chose the Concert Hall—the pipe organ! As someone who has performed on that very stage many times, I can fully appreciate how tricky it must have been for the stage manager Emma Healy and crew to work within such a space. But what they’ve accomplished is seamless and stunning. The orchestra—Cadenza Chamber Players—have an open pit, allowing me to glimpse each one of the remarkable musicians, including the brilliant Lucas Lynch, whose sparkly suit jacket is just as dazzling as his conducting. A Triumph in Storytelling What truly sets BTQ's Snow White apart is its dedication to theatrical storytelling. Under the expert guidance of Clare Morehen and Lucas Lynch, who devoted over 14 months to this labour of love, their collaborative passion and meticulous planning shine through in every scene. It's obvious that every detail has been painstakingly crafted to serve the narrative. The ballet opens with a stirring prologue, plunging the audience into the Grimm-inspired tale. We dive deep into Snow White's backstory, offering a richer understanding of her journey that is often missing from fairy tale adaptations. Ample time is devoted to portraying Queen Lillian and King Frederick’s loving relationship, their life raising Snow White, and even posing for family portraits, until Queen Lillian’s untimely demise (played with true beauty by Lillian Richmond). This leads to the King’s hasty marriage to the dazzling yet dastardly Evil Queen, a development that is given equal attention. The ballroom scene is a real showstopper, with 18 dancers in glittering golden masks and gowns executing a grand, classical routine. Enter Sophia Gougoulas, the mysterious woman draped in black and gold. From her ornate mask all the way down to her noir pointe shoes, she exudes an aura of divinity. As she seizes control of the kingdom, everything seems to darken—the lighting grows dimmer, the music takes on an ominous tone, and the choreography becomes more foreboding. Snow White's "death" and resurrection are staged with extraordinary care, while the finale is a celebration of love, justice, and triumph (accompanied by a breathtaking quick-change costume reveal that I won't spoil!). TALENT: From Young Stars to Seasoned Pros The young dancers of BTQ shine brightly, demonstrating remarkable technique and storytelling abilities well beyond their years. With a cast of 81 dancers assembled from 24 dance schools across South-East QLD, plus choristers from Voices of Birralee, each performer contributes to the production’s grandeur, whether through visually striking ensemble scenes or quieter, emotionally charged moments. From portraying fearful subjects under the Queen’s oppressive rule to embodying playful creatures in the enchanted forest, the cast delivers with professional-level precision and passion. The young Snow White, portrayed by the stunning little dancer Ivy Noonan (role shared with Sarah Oh), is already impressive in both her technical ability and emotional expressiveness. Clad in a delicately soft blue dress, she beautifully conveys the anguish of losing her mother, juxtaposed with the innocent playfulness of her moments shared with young William (played by Ravi Lyndon). The adult Snow White, played by the exquisite Caitlin Volker (role shared with Emma Kim), is everything you imagine the fairest of them all to be. With her elegant demeanour and graceful physicality, she moves with the poise of royalty. Her intricately designed costume and delicate up-do further allow her to radiate the grace and charm of a true princess. Volker's portrayal beautifully captures Snow White’s purity and quiet strength, enchanting the audience with every movement. Her chemistry with adult William (played by guest artist Jordan Lennon) is especially heartwarming, their tender pas de deux a stunning display of connection and love. Lennon’s Act 2 solo is an emotional highlight—his heartbreak palpable as he searches for Snow and reminisces about their shared childhood. Paired with music steeped in longing and tenderness, this moment sent shivers down my spine. Special mention must be made of Sophia Gougoulas (role shared with Zara Strelen), who portrays the Evil Queen with captivating brilliance. Her command of the stage is mesmerizing, with every movement dripping with menace and jealousy. Her exceptional acting fully realizes the Queen’s wrath, as her physicality, the intensity of her gaze, and the choreography all combine to create a truly threatening presence. The other guest artists, Callum Paterson as the Huntsman and Jayden Grogan as King Frederick (Snow’s father), bring a level of polish and professionalism that elevates the production to new heights. Their presence grounds the story with experienced and nuanced character work, creating a harmonious balance between the youthful energy of the ensemble and the refined artistry of seasoned performers. The seven pixies, a delightful reinterpretation of the classic seven dwarfs, were a highlight of the production, bursting with charm and individuality. I won't list all the pixies, as there were a lot of them, but I found the cast I saw on opening night brought so much personality to their roles, enchanting the audience with their playful gestures and expressive mime work. Their colourful costumes—complete with dainty wings, matching ballet shoes, intricate eyeshadow, and whimsical headpieces—add a sense of joy and whimsy to the proceedings. Their scenes with Snow were filled with warmth, brought to life by light choreography and a magical fairy-like score featuring plucked strings and chimes that made you feel like you were in a Disney movie. The senior dancers don skeletal masks that transform them into eerie, otherworldly figures, adding an air of mystique and unease to their presence—while still looking stunning en pointe. Their ability to perform so seamlessly despite the seemingly limited visibility through these masks is a testament to their incredible skill, adding yet another layer to the show’s enchanting magic. Equally impressive is the makeup and wig work on the Queen’s ghoulish minions, which enhances their ominous presence and cements them as unforgettable elements of the production’s dark, gothic aesthetic. A particularly breathtaking moment unfolds in near darkness as Snow encounters the fireflies—the tiniest and most enchanting members of the cast. Bathed in a soft, solitary spotlight, Snow becomes the centrepiece of this magical scene as the fireflies gather around her, their light-up wings and antennae flickering in perfect synchrony with the fairy-like melody of delicate harps and ethereal choral harmonies. It’s one of those moments that makes you feel as though you are part of the magic yourself. CHOREOGRAPHY: Elegance Meets Darkness Now, let’s talk choreography. It’s absolutely divine. Every move is so beautifully executed, thanks to the talented dancers who’ve come together from schools all over South-East Queensland. Clare Morehen’s choreography is a visual feast, vividly contrasting the gentle, romantic movements of Snow White and her allies with the angular, contorted lines of the Evil Queen and her followers. Act One highlights this beautifully, with sharp, regimented choreography portraying the Queen’s tyranny. The military-themed costumes worn by the People of the Realm emphasise her authoritarian rule—a wonderful cohesion between costume and movement. Meanwhile, the forest scenes offer a whimsical reprieve, brimming with the magic of the Pixies and Fireflies. Their lighter, fluid movements transport the audience into a magical realm, where every fluttering gesture seems to sparkle with possibility. The way these characters interact with Snow White is touching, and it’s through these moments of respite in the forest that we see Snow's kindness and warmth shine through. The Masquerade Ball is a standout, blending grand, traditional ballet with narrative progression. When the Queen seizes control, the choreography shifts daringly into more contemporary styles, with sharp synchronised movements and the entire military ensemble incorporating stools into the routine. This electrifying moment, paired with the dramatic swell of music, is utterly captivating. Meanwhile, a massive set piece rolls onto the stage completely unnoticed—more theatrical magic! The production excels in cohesion, with every element meticulously woven together to create a visually and emotionally rich experience. Morehen’s direction ensures that every movement not only reflects the character’s inner world but also tells the timeless story of love, loss, and redemption. Without revealing too much, one of my favourite enchanting moments in this ballet was when Snow and William as children danced to their playful musical motif before leading to a beautiful interaction with the magic mirror. MUSIC: A Unique Masterwork Dr. Lucas D. Lynch’s score is a revelation, echoing the grandeur of traditional ballet while carving out its own unique identity. Performed live by the Cadenza Chamber Players under his expert baton, the emotional depth of the music and its recurring themes create a rich sonic tapestry that continually drives the narrative forward. His compositions manage to balance classical elegance with contemporary sensibilities, seamlessly shifting between romantic waltzes and ominous motifs. The inclusion of the Voices of Birralee choir adds a haunting, ethereal layer to the music, enriching pivotal scenes like the Dark Forest and Snow White’s requiem. The choice of venue became even more apparent when the Concert Hall’s pipe organ made its entrance in the score. Though hidden behind curtains, its majestic sound added depth to Lynch’s exquisite compositions, perfectly tailored to every moment on stage. From the beginning, the score establishes a mysterious, fairytale atmosphere with chimes and lush strings as Snow White's parents share a tender dance with their daughter. The scene quickly turns tragic as Snow’s mother fades away. The sorrowful cello and piano swell into a powerful orchestral crescendo, delivering an emotional punch that sets the stage for the drama to follow. One of the most striking elements of Snow White  is its attention to detail. Lynch crafted Snow White’s theme with a romantic and sweet melody to mirror her kindness, whereas the Evil Queen’s theme—introduced as soon as she gazes upon Snow in the mirror—recurs as her malice intensifies. As the set rotates, revealing the witch's lair on one side and the forest cottage on the other, Snow travels through a dark forest enhanced by veiled dancers and the deep resonance of the organ, building to the dramatic showdown between the huntsman and William. Snare drums introduce the seven pixies, while plucked strings and chimes enhance the magical atmosphere of the cottage, filled with plenty of 'aww' moments. A singular voice and strings mark the poignant moment of mourning as Snow White succumbs to the poisoned apple. But the moment Snow White awakens from her enchanted slumber is nothing short of magical, thanks to the gorgeous choral arrangements and lush orchestration that deliver a truly cinematic experience. SET, SOUND, LIGHT, COSTUME: Designs That Transport The magic of the production lies not only in its grand gestures but also in its intimate details. For example, the dancers illuminating Snow’s coffin to guide William to its location, or the sound of dripping water in the witch’s lair, or the light from the fireflies’ wings and antennae syncing with the music. Even the glitter confetti used as bathwater for the pixies adds to the whimsical charm! Bill Haycock’s set design elevates the production by transitioning between contrasting worlds. Shimmering fabrics hang above, imparting a sense of grandeur without overwhelming the space. The iconic magic mirror is given a literal and metaphorical twist when it shatters, revealing another dancer as the Queen’s reflection (played by Katie Holman), and the Queen performs a striking pas de deux with herself – a stunning portrayal of vanity. The light reflecting off the shattered mirror fragments, held by the ghoulish figures, creates a blinding, hypnotic effect. The use of lighting by Glenn Hughes plays a pivotal role in blending these worlds, shifting between the stark, colourless tones of the Queen’s realm and the ethereal, vibrant glow of the Pixies’ forest. Wil Hughes' sound design is also superb, crafting a strong sense of danger and magic—especially with the whoosh of spells being cast and the brain-tingling sound of the mirror shattering. Rebekah Ellis’s costumes are works of art—each piece meticulously crafted to convey the personality of the characters and the tone of the scenes, not to mention that her team ensured that every costume was custom-made to fit the dancer perfectly. Snow White’s soft, flowing garments communicate the purity and gentleness of her character, contrasting with the regal yet sinister designs of the Evil Queen’s wardrobe. The woods are dark and mysterious, illuminated in purples and greens, with dancers in black moving like shadows of branches in the forest. The costume quick-change reveal at the end is breathtaking, accompanied by falling petals—truly unforgettable. Sarah Smith works her magic with makeup, transforming the characters into living, breathing elements of the fairytale, while Michael Green’s incredible wigs complement the character transformations beautifully. CONCLUSION Ballet Theatre of Queensland has delivered a truly magical production in Snow White . Every performer, from the youngest dancers to the senior ensemble, shone brightly. Queensland is brimming with incredible dance talent, and BTQ has proven they are at the forefront of showcasing it. The passion and care that Lucas, Clare, and the entire BTQ team have put into this production are evident in every moment. Snow White  is a dazzling reminder of the magic that can happen when music, dance, and storytelling unite. With visionary choreography, a captivating score, and stunning designs, this production does what only the best stories can do: it transports the audience to another world. From the first dramatic note to the final, uplifting moment, it is a performance that engages both heart and mind. This production represents a significant achievement for BTQ and the Australian arts community. It's a rare privilege to witness a brand-new ballet with an original score, and I feel fortunate to have experienced its debut. This was my first BTQ production, and it definitely won't be my last, with Cinderella  coming later this year, Alice in Wonderland  (original score by Lucas Lynch) in 2026, and a brand-new ballet of Snugglepot  and Cuddlepie  in 2027. Snow White  already holds a special place in my heart, and BTQ’s adaptation has far exceeded my expectations. I wholeheartedly recommend it as a magical journey through one of the most beloved fairytales. Photography: Quince & Mulberry

Title:  Alistair in Wonderland Presented By:  Katz Acting Academy Genre:  Musical Theatre Synopsis: The Queen of Hearts has demanded a rematch with Alice on the croquet lawn, but instead of fetching the girl back to Wonderland as instructed, the easily muddled Dormouse has returned with a very confused boy named Alistair. Luckily, Alice has also arrived, having learned of the Queen’s summons from the Cheshire Cat, and it becomes her mission to get Alistair safely home while also enjoying a new adventure herself. Audition Date: Saturday 1st February 2025 Sunday 2nd February 2025 (Callbacks if required) Audition Time: Saturday: 11 am to 1 pm Sunday: 11 am to 1 pm Audition Location and Address: Saturday: Picabeen Community Centre, 22 Hoben St, Mitchelton QLD Sunday: Venue TBA Audition Requirements: Prepare a short song (approx. 1 minute) in the style of Disney/Pop/Musical Theatre. Accompaniment must be a backing track on a device with Bluetooth capability or USB (no a cappella or sheet music). Wear comfortable clothing for a short dance routine. Be prepared for cold reads from the script. Audition Registration:  Complete your audition form here: Audition Form Available Roles: Performers of all ages, genders, abilities, backgrounds, and ethnicities are welcome to audition. Some roles may be doubled. Roles include: NARRATOR: Optional MOTHER:  Maternal but firm in a timeless, motherly way. FATHER:  A proper but gentle father with a teasing manner. ALISTAIR:  A spirited boy who’s open to adventure. DORMOUSE: Childlike and funny with a desire to please others. WHITE RABBIT: Anxious and burdened by a strong sense of responsibility as well as a genuine fear of the Queen. HARE: Sardonic and dry with a penchant for winding the Rabbit up. HATTER: Zany and unaffected by whatever excites other around her. ALICE:  More mature than she was in her first two visits to Wonderland, she falls easily into the role of guide and cautionary companion to Alistair. CHESHIRE CAT: Wise and confidant, showing up when needed and readily commenting on the activities of Wonderland’s citizens. CATERPILLAR: Direct descendent of a famous chain-smoker, this caterpillar has the much healthier habit of juggling. BILL the LIZARD: Still sore about his earlier experiences with Alice. DODO: Bossy emcee of the caucus race with a distinctive vocabulary. TWEEDLE-DUM: Dee’s comic friend. Together, they stir up trouble for Alistair. TWEEDLE-DEE: Dum’s comic friend. Together, they stir up trouble for Alistair. GRYPHON: A gentle and solicitous friend to all, particularly the Mock Turtle. MOCK TURTLE: Humble and self-effacing soul who thinks the best of others. QUEEN of HEARTS: As two-dimensional as a playing card: shrill, bossy, driven. KING of HEARTS: Bumbling and ever after claiming his own agency. CARD 5: Servant to the Queen. LORY: Dances at the cotillion. DUCK: Dances at the cotillion. EAGLET: Dances at the cotillion. CARD 7: Announces at the trial. Rehearsal Dates: Commence: Thursday 6th February 2025 (First read-through and information session) Regular rehearsals: Tuesdays and Thursdays from 7 pm, Sundays from 10 am – 3 pm Technical and dress rehearsals: Saturday 5th, Sunday 6th, and Monday 7th April 2025 Performance Dates: Wednesday 9th April – Saturday 19th April 2025 Performances include daytime and evening shows during the school holidays. Possible performances on Good Friday and Easter Saturday. Venue: TBA Recommended Age:  All ages Crew: Directed by: Sandra Harman Musical Direction by: Natalie Mead Production Website:   KATZ Acting Other Information: This is an unpaid opportunity. Everyone must be available for most rehearsals, all of production week, and all performance dates. For further details or enquiries, please email alicekatz4053@gmail.com.

Title:  Footloose Presented By:  National Academy of Performing Arts (NAPA) Genre:  Musical Synopsis: Footloose  follows the story of Ren McCormack, a city teen who moves to a small town where dancing and rock music are banned. As he challenges the oppressive rules, he inspires the town to embrace freedom and find joy in music and dance. This high-energy musical is full of unforgettable songs and dynamic dance numbers. Audition Dates: Thursday, 6th March – Dance Call/Video Auditions Due Sunday, 9th March – Callbacks Audition Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Audition Requirements: Complete the audition form online at NAPA Footloose Audition Registration . The full rehearsal schedule is available for download: Footloose Rehearsal Schedule . Available Roles: Ren McCormack (Lead): Masc, 18-25, Tenor, strong dancer, rebellious, emotional. Ariel Moore (Lead): Fem, 18-25, Mezzo-Pop, rebellious minister’s daughter, strong belt, strong dancer. Rusty (Supporting): Fem, 18-25, Soprano/Pop, comedic, strong belt, strong dancer. Willard Hewitt (Supporting): Masc, 18-25, Tenor, country bumpkin, comedic timing required. Ethel McCormack (Supporting): Fem, 35-45, Soprano, Ren’s caring mother. Chuck Cranston (Supporting): Masc, 18-25, Tenor, bad boy, Ariel’s boyfriend. Urleen (Supporting): Fem, 18+, Mezzo/Alto, Ariel’s smart friend, comedic, strong dancer. Wendy Jo (Supporting): Fem, 18-25, Mezzo, Ariel’s friend, comedic, strong dancer. Ensemble: All genders, 18+, townspeople, students; strong singers, dancers, and character performers. Performance Dates: 30th, 31st May; 1st, 6th-8th June 2025 Performance Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Rehearsal Dates: 13th March - 28th May 2025 Rehearsal Times: TBC Saturdays 2.00-5.00PM Thursdays 6:00-9:30PM Mondays 6.00-9.30PM (After Easter break) Wednesdays 6.00-9.30PM  (After Easter break) Warnings: Some roles feature mature themes and require emotional depth. Required Age: 18+ Crew: Director: Kim Reynolds Vocal Directors: Steffanie Gowland, David Valks, Leila Chequer de Souza Associate Choreographers: Mandy Morrison, Suzanne Lewis Production Website: NAPA Other Information: This is an unpaid production. All performers must be available for the listed rehearsal and performance dates.

Title:  RENT Presented By:  Studio Empire Performing Arts Centre - SEPAC (Adults Pre-Professional Program) Genre:  Musical Theatre Synopsis: SEPAC is thrilled to present Rent , a landmark musical about love, loss, and the resilience of community. Set in the gritty East Village of New York City during the AIDS crisis, this rock opera follows a group of young artists navigating life, love, and friendship. Audition Date: T hursday, 6th February 2025 Audition Location and Address: SEPAC, Gold Coast (exact location provided in the audition pack) Audition Requirements: Seeking male-identifying performers, ages 18-35. Audition Registration: Send an email to Admin@sepac.com.au  to request an audition pack. Rehearsal Dates: Thursdays from 6:00 PM to 8:00 PM, weekly Performance Dates: 2nd - 5th July 2025 Performance Location: SEPAC, Gold Coast Warnings: This production contains mature content , including coarse language, depiction of death and references to drug addiction, AIDS, and self-harm. Required Age: 18+ Production Website: SEPAC

Title:  ABHOR Presented By:  Introspect Theatre Company Genre:  One-Act Play Synopsis: Introspect Theatre Company is returning to the Southeast Queensland Festival Circuit with the one-act play Abhor , an original script by Aaron Evans. Set in ancient times, the play follows a mixed-creature clan called the Ironsins who banish humans from their lands. However, one of their own befriends a human, and in a fit of fury, the Ironsins' second in command attempts to cast a spell to remove humans from time. The spell goes awry, and the clan is transported to Sydney in 1999, where they discover that humans have taken over and their kind is nowhere to be found. Abhor  explores themes of racism in both medieval and modern-day settings. Audition Date: Sunday, 23rd of February, 2025 Audition Time: 10:00 AM Audition Location and Address: Drama Room – Northpine Christian College Audition Self-Tape Due (if applicable): Video auditions are welcomed. Audition Requirements: A 2-3 minute drama monologue Audition Registration: Click here to register Audition Pack: Download Information Pack Rehearsal Dates: Tuesdays from 6:00 PM to 8:30 PM, starting 4th March 2025 Media Day: Tuesday, 3rd June 2025 Dress Rehearsal: Sunday, 29th June 2025 Performance Dates: Home Performance: Sunday, 6th July 2025 Festival Dates: Beenleigh Theatre Group: 1st, 2nd, 3rd August 2025 Ipswich Little Theatre: 8th, 9th, 10th August 2025 KSP Theatre: TBC Crew: Director: Tiarne (Director of Kaleidoscope , 2024 Southeast Queensland Drama Festival) Production Website: ABHOR Auditions Page

Title:  Maria the Musical - Fundraiser Performance Presented By:  Introspect Theatre Company Genre:  Musical Theatre Synopsis: Join us for an exclusive evening of music, storytelling, and inspiration at Maria the Musical  Sneak Peek Concert Fundraiser. This captivating event offers a first look at the heart and soul of an extraordinary new musical, based on the true story of Maria, a courageous immigrant from Chile to Australia. Through poignant songs and powerful narratives, the musical honours Maria's journey of resilience, overcoming domestic violence, navigating the challenges of immigration, and raising her family against all odds. The evening features live performances of selected songs from the musical and provides insight into the creative process behind the production. Audition Date: Sunday, 9th of February, 2025 Audition Time: Selected time slots throughout the day Audition Location and Address: Drama Room - Northpine Christia n College, 29 Hughes Rd E, Dakabin QLD Audition Self-Tape (if applicable): Video auditions are welcomed. Callbacks: Sunday, 16th of February, 2025 Audition Requirements: A song that showcases your vocal ability (preferably in a musical theatre style). A short monologue or a brief personal story demonstrating your connection to the themes of the musical (optional but encouraged). Audition Registration: Click here to register Audition Pack: Download Information Pack Performance Date: Saturday, 3rd of May, 2025 (Sound Check and Performance) Rehearsal Dates: From 2nd of March to 27th of April 2025 Sundays: 9:00 AM Wednesdays: 6:00 PM Crew: Event Coordinator and Librettist: Cindy Sykes Composer and Lyricist: Matthew Rabbas Orchestrator and Musical Arranger: Dr. Daniel Rojas Production Website: Official Website

Title:   Cinderella Presented By:  Ballet Theatre Queensland Genre:  Ballet AUDITION DETAILS: Audition Date: Juniors (Ages 8–12):  Saturday, 8 February 2025 Intermediates and Seniors:  Sunday, 9 February 2025 Audition Time: 9:00 am – 5:00 pm (exact times emailed 1 week prior) Audition Location and Address: BTQ Studios, 57 Hayward Street, Stafford QLD 4053 Audition Self-Tape Due (if applicable): 5:00 pm, Friday, 7 February 2025 Audition Requirements: Minimum age: 8 years by 23 February 2025 Studying at least Grade 2 RAD (or equivalent) Pointe shoe training: 1 year minimum for Intermediates 2 years minimum for Seniors Auditions include a masterclass, repertoire, choreography, and acting exercises Audition Registration: Click Here to Register Audition Pack: Details available on the BTQ website Performance Dates: Season:  9–13 July 2025 Venue:  The Star Theatre, Gold Coast Rehearsal Dates: Orientation Day: 23 February 2025 Weekly: Saturdays (9:00 am–5:00 pm) Intensives: April 5–11, 2025 (April school holidays) Warnings: All rehearsals are compulsory Dancers must commit to performance and rehearsal schedules Required Age:  8–22 years (Junior, Intermediate, and Senior levels) Other Information: Fee: $2,100 (includes rehearsals and performances) Audition Application Fee: $50 Scholarships available

Title:  Black Comedy & Lockdown in Little Grimley (Double Feature) Presented By:  Sunnybank Theatre Group Genre:  Comedy Synopsis: Black Comedy  (by Peter Shaffer) – A power failure in a London flat causes mayhem, mistaken identity, and chaos. Set some decades ago before mobile phones, the play is almost entirely acted ‘in the dark.’ Lockdown in Little Grimley  (by David Tristram) – During a lockdown, the chairman of a struggling theatre group calls an emergency meeting to discuss a love story production destined to benefit the NHS. Based on their past efforts, will their well-meaning plan backfire? AUDITION DETAILS: Black Comedy: Audition Date:  Saturday, 8 February Audition Time:  10:00 AM Lockdown in Little Grimley: Audition Date:  Saturday, 8 February Audition Time:  12:00 PM Audition Location:  Sunnybank Theatre Group, 14 Mains Rd, Sunnybank QLD 4109 Audition Requirements:  Cold read from provided script pages. Audition Registration:   Register Here Audition Packs: Black Comedy PDF Lockdown in Little Grimley PDF Production Website:   Sunnybank Theatre Group Auditions Available Roles: Black Comedy: Brindsley Miller  – Young sculptor, 20s. Carol Melkett  – Brindsley’s fiancé, spoiled and vacuous. Miss Furnival  – Middle-aged, refined, repressed. Colonel Melkett  – Carol’s father, brisk and bossy. Harold Gorringe  – Neighbouring antique dealer, 40s. Schuppanzigh  – German refugee, happy and cultivated. Clea  – Brindsley’s mischievous ex-mistress. Bamberger  – German millionaire art collector (small role). Lockdown in Little Grimley: Gordon  – Theatre chairman, persistent optimist. Margaret  – Bossy diva actress. Joyce  – Secretary, struggles with lines. Bernard  – Backstage member, minor actor. Performance Dates:  2 May – 17 May 2025 Performance Location:  Sunnybank Theatre Group, 14 Mains Rd, Sunnybank QLD 4109 Crew: Black Comedy Director:  Dierdre Robinson Lockdown in Little Grimley Director:  Cristina Hope

Title:   Disney’s The Little Mermaid JR. Presented By:  ROCKIT Productions Genre:  Musical Theatre About the Program (RUGRATS & JUNIORS) Rugrats Program: For students in Prep to Grade 2 , the Rugrats Program introduces young performers to musical theatre through creative play. Students explore singing, acting, and dance in a safe and supportive environment. Juniors Program: For students in Grades 3 to 6 , the Juniors Program focuses on developing technical skills, including vocal blend, part singing, dance, characterisation, and stagecraft. Students rehearse and perform alongside Rugrats for a collaborative production experience. Synopsis: Dive “under the sea” with Ariel and her aquatic friends in Disney’s The Little Mermaid JR. , adapted from Disney’s Broadway production and motion picture. Based on Hans Christian Andersen's beloved story, this enchanting tale highlights love, sacrifice, and acceptance. Audition Details Rugrats:  No auditions required. Juniors:  Optional auditions will be held on Saturday, 8th February 2025 , between 10:30 AM – 4:15 PM. Students will be scheduled into 105-minute blocks Auditions are workshop-style to ensure a fun and relaxed experience. All enrolled students are included in the production regardless of audition participation. Location: ROCKIT Launchpad Studios, 36 Old Cleveland Rd, Capalaba, QLD 4157 To Enrol:   Enrol Here Rehearsal Dates: Weekly Classes: Rugrats (Prep): Saturdays: 9:30 AM - 10:30 AM Rugrats (Grades 1–2): Saturdays: 9:30 AM - 10:30 AM Juniors 1 (Grades 3–4): Tuesdays: 4:00 PM - 5:45 PM Juniors 2 (Grades 5–6): Tuesdays: 4:15 PM - 6:00 PM Full Day Rehearsals (Rugrats & Juniors): Saturday, 15th March 2025 Saturday, 3rd May 2025 Extended Juniors Rehearsals: Tuesdays: 6th, 13th, 20th, and 27th May 2025 Time: 3:45 PM – 6:30 PM Performance Schedule Tech Rehearsal:  Saturday, 24th May 2025 Show Dates: Sunday, 25th May 2025 (2 Shows) Saturday, 31st May 2025 (2–3 Shows) Sunday, 1st June 2025 (2–3 Shows) Venue: ROCKIT Launchpad Theatre, 36 Old Cleveland Road, Capalaba, QLD 4157 Required Age: Open to students in Prep - Grade 6. Production Website: ROCKIT Productions 2025 Program Other Information: Costume hire fee: $40 (additional to term fees). Discount packages and payment plans available.