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Welcome to Camp Rock, where young performers can unleash their talent and passion in a high-energy musical experience! Join us for a fun-filled week of rehearsing, performing, and making memories with new friends. About Camp Rock: The Musical: Follow Mitchie and her friends as they arrive at Camp Rock, ready for a summer of music and fun. However, their camp faces a new threat from the flashy Camp Star across the lake. Mitchie must rally her fellow Camp Rockers to save their camp and prepare for the ultimate showdown! Auditions (Lead & Supporting Roles): Date: Sunday, June 9th, 2024 Time: 12pm – 3pm Location: Alchemy Studios Brisbane, Lutwyche Audition Requirement: Auditions are upon application ONLY. Participants must sign up for the Holiday Camp to audition. Every participant will be part of the production ensemble, even if they do not receive a lead role. Event Details: Workshop Dates: June 24th, 2024, to June 29th, 2024 Venue: Alchemy Studios Brisbane, Lutwyche Performances: Saturday, June 29th, 2024, at Stagehouse Theatre, Hayward Street, Stafford (2pm & 4pm) Holiday Workshop Program (June 24th - 29th): Full-day workshops from 9.00am to 4.00pm Script and music sheets provided Lead & supporting roles costumes included 1 FREE Show ticket per participant Professional Photo Pack of the performances BBQ Lunch on Friday Pizza Party Lunch at the theatre on Saturday Insurances / Licensing Workshop Fee: Price: $395.00 (includes all workshop materials and benefits listed above) Requirements: Open to participants aged 9 to 17 years old No previous experience required to join the ensemble Commitment to attend every day of the week-long camp How to Register: Visit LVBA Camp Rock The Musical for more information and to register for this exciting holiday camp! Contact Information: Email: admin@lvba.net.au Phone: 07 3106 9983

Auditions: Video Auditions close midnight, Thursday 6th of June Callbacks: Sunday, 9th of June from 10am (Johnson St Studios, 4/50 Johnson St, Southport) Rehearsal Period: 13th June - 20th August (Tuesday, Thursday nights and Sunday days) Performance Season: 23rd August - 7th September, 2024 Director: Hunter Wall About the Play Playwright: Tennessee Williams Synopsis: The play follows Blanche DuBois, a former Southern belle who, after a series of personal losses, moves into a shabby apartment in New Orleans with her sister Stella and brother-in-law Stanley. It is a critically acclaimed exploration of themes such as aggression, desire, and deception, set against the backdrop of 1940s New Orleans. Audition Process Registration: Read the audition pack carefully here Register your audition here. Self-Tape Submission: Prepare a 1-3 minute monologue from a published play. Submit your self-tape here. Callbacks: If selected, attend callbacks on Sunday 9th of June from 10am at Johnson St Studios. Character Breakdown Blanche DuBois (Lead): Female, 30-45 Stanley Kowalski (Lead): Male, 25-35 Stella Kowalski (Lead): Female, 25-35 Harold “Mitch” Mitchell (Supporting): Male, 25-40 Eunice Hubbel (Supporting): Female, 30-40 Steve Hubbel (Supporting): Male, 25-35 Pablo (Supporting): Male, 25-35 Unnamed Black Woman (Ensemble): Female, 25-35 Doctor (Ensemble): Male, 30-40 Nurse (Ensemble): Female, 30-40 Young Collector (Ensemble): Male, 18-25 Mexican Woman (Ensemble): Female, 35-45 All roles require practice with a Southern accent and/or American dialect. Content Warnings Depictions of violence and domestic abuse Depictions of rape and attempted rape Contains coarse and/or derogatory language Depictions of drug and alcohol use Sexual references including an onstage clothed simulated sex scene between Stanley and Stella (no nudity) References to child abuse References to death and dying References to suicide Homophobic references Depictions of mental illness Additional Information: Age Limit: 18 years and older. Self-Tape Instructions: Use a phone camera, film landscape in a quiet, well-lit area. Getting Involved: Interested in behind-the-scenes roles? Email: streetcarspotlight@gmail.com

YeahNah Theatre Collective is excited to announce auditions for their first MainStage show! Audition Details: Date: Sunday, 9 June 2024 Time: 2:00 PM - 5:00 PM Location: Backbone Youth Arts, Seven Hills Production Information: Rehearsals: August/September Performances: 19-28 September 2024 Roles Available: June Female Identifying Age: 18-28 years old Mum Female Identifying Age: 40-60 years old Audition Requirements: Prepare two contemporary monologues. How to Apply: Email your interest to yeahnahtheatre@gmail.com. About the Play: 19-year-old June is a first-year student on her university swim team, counting every calorie in the lead-up to her big meet. Her 21-year-old sister, Anna, spends her nights going home with strangers from nightclubs and tells herself that she couldn’t be happier. Both sisters keep their shame hidden. But when their mother Dawn announces she is moving in with her boyfriend and Anna and June must move out, their secret lives begin to unravel. Miranda Michalowski’s Young Bodies/Somebody’s is a sensitive portrayal of a fragile time for many young women coming into their own. It uses contrasting monologues to create a sense of unity yet disconnect between a family fractured by divorce, and sheds light on their individual problems.

A Hilarious Journey into the Chaotic World of Theatre Centenary Theatre Group's rendition of Michael Frayn's "Noises Off" offers a wild ride behind the scenes of a troubled stage production, featuring a motley crew of unstable actors, a hot-tempered director, and an overwhelmed stage crew. As the characters struggle to stage the tacky comedy titled 'Nothing On,' the boundaries between their on-stage roles and off-stage lives blur. Divided into three acts, the production guides the audience from a frustrating technical rehearsal to the backstage mayhem during a live performance, culminating in a disastrous final performance. Michael Frayn’s script not only keeps us laughing at the absurdity but also offers a fond look at the quirks and follies of theatre people. Act One: The Technical Rehearsal The commotion commences with a frantic midnight technical rehearsal preceding the opening performance. Amidst missed cues, forgotten lines, and misplaced props (particularly those pesky sardines!), director Lloyd Dallas, portrayed with sarcastic flair by Michael Civitano, navigates the madness from his seat with us in the audience. This act sets the stage for the chaos to come, introducing us to each character's quirks and flaws and showcasing the stressful reality of last-minute preparations where you sometimes must “use opening night as the dress rehearsal.” Act Two: Backstage Mayhem In Act Two the audience is treated to a offstage perspective during a live performance - complete with the familiar backstage blue lighting. Here, the crumbling relationships among the cast take centre stage as romantic rivalries, personal quarrels, and hidden alcohol create a whirlwind of silent chaos. The use of mime and slapstick is brilliant, as the cast engage in noiseless arguments and panicked efforts to salvage the show despite everything going awry backstage. It’s a testament to these actors’ skills that the sheer amount of interaction in this Act is both apparent and hysterical – you seriously need nine pairs of eyes to watch everything going on! Act Three: The Grand Finale The production reaches its peak of absurdity in the final act as the onstage performance disintegrates into utter mayhem with the actors ad-libbing furiously to cover up mistakes. Set malfunctions, mid-show covers, misplaced sardines, and on-stage injuries cause endless trouble, but the persistent performers are determined to see the show through to its end no matter what! A Night of Relatable Comedy If you've ever been involved in theatre, you will find yourself nodding along to the relatable moments and reminiscing about the wonderful mess that is live performance. From the director’s stress-induced meltdown to the stage manager being told to take a break only to be immediately bombarded with more tasks, these scenes strike a chord with those who have experienced the high-pressure environment and often thankless grind of theatre work. Furthermore, the inevitable mishaps and injuries that plague performers during live performances resonate with painful realism - having broken a foot on-stage myself! Plus, I really enjoyed the constant – and I mean literally constant - use of pet names like "love" and "dear" between the cast to maintain their façade of camaraderie, despite the underlying tensions. Spot-On Casting The cast delivers a stellar performance together, while each member shines in their respective roles with a blend of hilarity and sincerity. I must mention them all because there wasn't a single character I disliked! Samantha O’Hare's portrayal of Belinda exudes warmth and vivacity, balancing her dual roles as supportive peacemaker and backstage gossip monger effortlessly. Bob Polowyj embodies the endearing cluelessness of Selsdon, the veteran actor with a penchant for the bottle. His forgetful antics and loveable quirks earn frequent laughter. Artemisia Allan's version of Brooke showcases her comedic speech and physicality. She depicts the perpetually ditzy actress with unwavering commitment to her character, eliciting laughter with every blank expression and whimsical gesture. Michael Civitano's depiction of Lloyd, the stressed director, strikes a perfect balance between exasperation and humour with his attempts to reign in the chaos while juggling his love life. Brent Jeffrey's portrayal of Garry is exceptional. He captures the character's inability to improvise with comic timing and his tendency for jealously with expressive physicality, especially in Act Two, which made him a favourite of mine! Eleni Koutsoukis brings a pitiful sweetness to the role of Poppy, the overworked and overly emotional assistant stage manager. Her portrayal conveys Poppy's desperation and vulnerability well, particularly in her interactions with Lloyd. Kip Jeffree's portrayal of Tim, the overburdened stage manager who is expected to cover roles, fix the set, and run personal errands is both disheartening and hilarious. His depiction of Tim's exhaustion and flustered demeanour resonates with anyone familiar with managing chaotic backstage antics. Natalie Pedler's performance brings the eccentric Dotty to life. Her expressive portrayal captures the character's comedic mishaps with finesse as she struggles with her lines and props - and those darn sardines causing her such trouble in Act 3! James Sheehan embodies the neuroticism of Freddie with authenticity, including the actor’s confusion over the director’s choices, his need to constantly disturb rehearsal in Act One, and his fear of blood stealing the spotlight in Acts Two and Three. Final Thoughts The intimate setting of the Centenary Theatre, accommodating around 80 people, adds to the appeal and immediacy of this performance. The crafted décor of the foyer sets the mood and the inclusion of a fake program for 'Nothing On' is a delightful touch. Audience laughter was frequent and hearty, indicating a crowd well-acquainted with the tribulations of theatre. Moreover, the impeccable blocking by the real director, William McCreery-Rye, involving the eight doors reveals the intricate timing and coordination required for such a demanding spectacle! Despite being over forty years old, ‘Noises Off’ remains a timeless gem of farcical theatre, boasting humour and situations as relevant and relatable as ever. Its enduring appeal lies in its slapstick physical comedy and witty dialogue, similar to an episode of ‘Fawlty Towers.' This fast-paced comedy is a guaranteed crowd-pleaser, promising a night of entertainment for all. So do yourself a favour and catch this cast's performance before it closes on June 9! Tickets Available Here

In a world where young voices are louder and more passionate than ever, ‘Slap. Bang. Kiss.’ is a powerful testament to individual resilience amidst societal challenges. Penned by Dan Giovannoni and presented by Underground Theatre this play dives into the turbulent waters of viral fame, social revolution, and personal transformation. The play unfolds through three distinct tales, each marked by a pivotal event. Immi, a defiant teenager, catapults into the spotlight after slapping a peacekeeper in an occupied city, becoming an emblem of rebellion. Sofia's passionate response to (yet another) tragic school shooting propels her onto the global stage, where she becomes a fierce advocate against the horror of gun violence. Meanwhile, Darby and Daniel's quest to break the world record for the longest kiss inadvertently becomes a powerful statement against the shadows of homophobia lurking in their small-town. Through their struggles, Immi, Sofia, and Darby each face adversity in ways that not only define them but also inspire change within their communities. The cast, comprised of Cullyn Beckton (as Darby), Ruby Shannon (as Sofia), and Hannah Sisson (as Immi), deliver performances that electrify and enthral. What truly sets this production apart from what I have seen recently is the actors' fluidity as they rapidly shift between lead and supporting characters (apparently 38 characters in total) by altering their costumes, mannerisms, and voice, all while maintaining the play's breakneck pace and overlapping dialogue with ease. Sisson's portrayal of Immi is a gripping depiction of life under occupation, immersing the audience in a world of defiance and fear with her commanding vocal presence and wide-eyed intensity. Shannon captures Sofia's story with a blend of vulnerability and determination, providing a poignant critique of the aggravating normalisation of gun violence. Beckton's portrayal of Darby is infused with comedic timing and heartfelt sincerity, adding a delightful touch of levity to the play's heavier themes. Director Joshua Price skilfully takes the audience on a wild ride of emotions and storylines by weaving together dialogue, movement, lighting, and sound to seamlessly transition between locations and tones. The rhythmic pace of the play keeps the audience engaged throughout the fleeting 60-minutes. The stage is adorned with newspapers and three bollard blocks that transform into versatile set pieces. The cast manipulates the blocks and their costumes themselves, keeping the audience informed of the shifting characters and settings without the need for elaborate backdrops. Immi's fortified exterior, Sofia's unwavering resolve, and Darby's quest for love and acceptance serve as a reminder that while the world watches, it is the bold, decisive actions of individuals that can truly drive societal transformation. ‘Slap. Bang. Kiss.’ transcends the boundaries of traditional theatre to become a call-to-action for the younger generation to seize their collective power. It confronts the harsh realities faced by its characters and balances them with moments of triumph, painting a realistic yet hopeful view of our world. Underground Theatre's rendition of this contemporary work left an unforgettable impact on the enthusiastic audiences who were fortunate enough to experience it during its short season. I look forward to seeing what they do next!

Event Details: Audition Date: Saturday, 1 June 2024 at 9:00 AM Location: The Play Shed, 4 Amity Street, New Farm, QLD Directed by: Susan O’Toole Cridland Performance Dates: 16th August - 7th September 2024 Brunswick Room, Merthyr Road Uniting Church, New Farm Audition Information: Required Roles: 6 female-identifying actors 2 male-identifying actors Ages: 30+ Accents: Most roles require an American accent. Preparation: No need to prepare an audition piece. Cold reads from the script will be conducted. Rehearsal Schedule: Monday and Wednesday evenings Saturday mornings Additional Information: Open auditions for all roles, welcoming both seasoned “Nashies” and newcomers of all experience levels. To accept a role, you must become a Nash member (required by the Insurer). Synopsis of The Odd Couple (Female Version): This fabulous comedy brings a fresh and hilarious twist to Neil Simon's classic play, reimagining it with female leads. Expect a delightful mix of humour, wit, and the timeless charm that made The Odd Couple a beloved staple of stage comedy. How to Get Involved: For more information on the audition process and to get involved, visit the Nash Theatre Auditions Page. Don't miss this fantastic opportunity to be a part of a classic comedy with a modern twist! All aspiring actors are encouraged to attend. See you at the auditions!

By Kate Mulvany and Anne-Louise Sarks Original concept by Anne-Louise Sarks after Euripides Directed by Daniel Evans Queensland Theatre's production of "Medea" breathes new life into Euripides' ancient Greek tragedy by viewing the story through the innocent eyes of Medea’s two young sons, Jasper and Leon. Within the confines of their shared bedroom, the brothers navigate the complexities of childhood with laughter, quarrels, and boundless imagination. While the echoes of their parents' escalating arguments reverberate outside their locked door, the boys remain oblivious to the impending tragedy ahead. Directed by Daniel Evans, this production offers a fresh perspective on the legend as we witness the final 80 minutes of their young lives. A Modern-Day Tragedy: Set in a contemporary bedroom meticulously designed by Chloe Greaves, the staging cleverly captures the boys' sense of isolation. This modern-day Brisbane bedroom feels incredibly authentic, down to the glow-in-the-dark stars, sports posters, abundant toys, and a real tank housing their beloved goldfish. The simplicity of the child's bedroom, usually a place of comfort and safety, starkly contrasts with the palpable tension just below the surface. Additionally, the entire stage is encased in glass, causing the audience to become detached observers, unable to intervene as we witness the boys trapped in their figurative and literal glass coffin. The script by Kate Mulvany and Anne-Louise Sarks combines playful banter with ominous undertones, capturing the purity of childhood against the backdrop of looming adult conflicts. Moments where the boys' games and conversations mirror themes of betrayal and revenge are particularly impactful; as is the tragic irony of the boys' innocent oversights, such as referring to their father's mistress as "dad's friend" and Leon reassuring Jasper that "I'll always be your big brother even when we are old... like 30.” Evans' direction ensures that the story's tragic inevitability is ever-present, yet he still allows the audience to hope for a different conclusion. Performances: The young actors' performances are a testament to their talent and the supportive environment fostered by their families and the creative team. Felix Pearn’s portrayal of Jasper is endearing and hilariously charming, easily weaving moments of comic relief into the characters’ shared journey. His well-timed comedic moments, like attempting to unlock the door using the force like Yoda, sparked consistent laughter from the audience. Orlando Dunn-Mura’s portrayal of Leon balances authority with vulnerability, embodying a commanding yet tender and protective older brother. Their on-stage interactions create a vibrant and authentic portrayal of sibling camaraderie. A particularly tender scene occurs when Leon uplifts Jasper's spirits with a sweet rendition of ‘Octopus's Garden’ on the ukulele, highlighting the purity of their bond amidst the chaos. Medea's entrance at the 30-minute mark dramatically shifts the tone of the play, announcing that the boys will be moving in with their father and his "friend." Helen Cassidy's portrayal of Medea is hauntingly mesmerising as she navigates the emotional complexities of the character while delicately balancing strength and vulnerability. She transitions from a loving and nurturing mother to a woman consumed by despair as she masks her inner turmoil with a façade of composure for her children's sake. Particularly harrowing is her dissociative state as she dresses her boys and recites all the things that she loves about them, leaving me with a lingering sense of unease and gut-wrenching ache. Cassidy's portrayal adds rich complexity to this legendary character, rendering her a mother both pitiable and horrifying in equal measure. Design Elements: Mike Willmett's sound design and Matt Scott’s lighting work together to immerse the audience in the children's experience. From moments of uncomfortable silence to playful interludes, cricket noises, and musical sequences including a haunting rendition of ‘God Only Knows’, the soundscape is always amplifying the unsettling mood. The LED lights lining the glass enclosure allow for subtle or dramatic lighting changes. One particularly striking moment is when the brothers eavesdrop on their parents’ heated argument, capturing the muffled noise through the door with chilling realism. The stage floods with a sinister red light, and a rising drone amplifies the tension, making the audience feel as helpless as the characters while they rage and trash their room. Another unforgettable scene unfolds later when the boys flick off the lights to transform the room into a galaxy full of twinkling stars and dancing ribbons of light. This simple yet profound choice immerses the audience in the brothers’ world of magic and wonder one last time. Along with the incredible soundscape of atmospheric noise and their sweet singing, this scene served as a poignant reminder of the fleeting nature of childhood, leaving a bittersweet pain in my heart afterwards. Impact and Recommendation: This adaptation of "Medea" is a masterful blend of ancient tragedy and modern storytelling, exploring innocence and betrayal through the eyes of those most affected that unfortunately, remains relevant today. It serves as a reminder of the beauty in the simplicity of a child's world, even within dark tales. The combination of stellar performances, innovative set design, and evocative lighting and sound creates an immersive experience that is both heart-warming and heart-breaking. I highly recommend seeing this show. It will only take up 80 minutes of your day, but its impact will stay with you long after. "Medea" is running until Saturday, 8th June, at The Billie Brown Theatre in South Brisbane. Tickets Available Here

Matrix Productions' "Diary of a Madman," currently showing at PIP Theatre, offers a haunting and masterful exploration of the human psyche. Adapted from Nikolai Gogol's 1835 short story by David Holman, with contributions from Neil Armfield and Geoffrey Rush, this production skilfully navigates the delicate balance between comedy and tragedy, creating a theatrical experience that is both harrowing and profoundly human. Directed by Michael Futcher, the play follows Aksentii Poprishchin, just an average Joe working a dead-end job in 19th century Russia, disappointed with life, and venting his frustrations in his diary every night as he isolates himself in his attic bedroom. His journal entries range from criticisms of his superiors to obsessive thoughts about his boss's daughter to a peculiar belief that dogs can talk. He starts with a standard date-based diary format, but at a certain point, even the dates take on an irrational form as his sense of conventional time dissolves. As his fixation on these imaginary canine conversations grows, the boundaries between reality and delusion blur, plunging him into a spiral of hilarious daydreams and heart-breaking schizophrenic episodes. As Poprishchin's alienation from society deepens, his entries become increasingly erratic, culminating in a tragic confinement in an asylum. Performances: Have you ever met someone who can captivate you when narrating a ghost story around a campfire or dishing out juicy gossip over brunch, so much so that you become riveted? Even when speaking nonsense, Rowan Chapman’s performance is like this, timed and delivered with the flair of a stand-up comedy routine. Chapman delivers an extraordinary performance as Poprishchin, capturing both the entertaining absurdity and the lonesome despair of his character. Like watching a masterclass in acting - he applies every aspect of his physicality and vocal range to bring Poprishchin's chaotic mind to life. His interaction with the audience adds a unique layer to this performance, monologuing to us in a way that feels both disarrayed but relatable. Chapman's choice to give a vacant stare each time his thoughts suddenly shift – absolutely brilliant. His presence on stage for the full 90 minutes demands a huge amount of energy, earning him two rounds of applause upon conclusion of the show. Honestly, he provides some of the most expressive acting I’ve seen, as his evolution into the madman is somehow equally unnerving and heart-wrenching. Sarah McIntosh performs several roles, including Tuovi, Poprishchin’s Finnish maid, his fantasy love interest Sophie, and a disturbing asylum captive. McIntosh transitions effortlessly between these characters, showcasing her versatility and heightening the emotional impact of the story with each role. Her portrayal of Tuovi evolves from comedic misunderstandings to a more sombre tone as she becomes increasingly desperate to assist Poprishchin. McIntosh also shared that she diligently studied Finnish language - and English in a Finnish accent - with a Finnish mentor, which she executes exceptionally well. Lastly, Tabea Sitte’s string accompaniment adds a haunting layer to the production, intertwining with the narrative to underscore Poprishchin's fluctuating mental state. The electric violin is incredible; be sure to take the time to glance at Sitte and appreciate the skill. One of my favourite aspects was the interaction between Chapman and Sitte; he acknowledges her presence - and the audience - to make us feel a part of his delusional world. Direction and Design: Director Michael Futcher's vision is evident in the seamless blend of reality and fantasy. The staging effectively mirrors Poprishchin's fractured mind, with Josh McIntosh’s set and costume design creating a bleak yet versatile environment. The dank attic bedroom and dishevelled clothing reflect his aggrieved state from the beginning and becomes increasingly unkempt, incorporating short moments of darkness to add sweat, blood, and whip marks to his body to heighten the concern for the character. Caleb Bartlett’s lighting design further enhances the atmosphere by using stark uplighting and subtle changes to reflect the protagonist’s instability and enclose us in his delusional world. Impact and Audience: The play’s critique of the bureaucratic system remains strikingly relevant today, offering a timeless reflection on individual struggles against societal constraints. Plus, the depiction of mental illness is sensitive and impactful, shedding light on the often-misunderstood aspects of schizophrenia. The audience's response to the play was overwhelmingly positive, taking us from fits of laughter to contemplative silence in the blind of an eye. Rowan Chapman's embodiment of Poprishchin, supported by a talented cast and exceptional direction, prompted two rounds of applause. Then, we all sat there in a palpable sense of awe until the front-of-house staff had to ask us all to exit the theatre. Matrix Productions' "Diary of a Madman" is a triumphant, thought-provoking piece of theatre that captures the essence of Gogol’s original work while infusing it with fresh energy. Running until June 1st, this adaptation is a must-see for those seeking a powerful exploration of the human condition. Don't miss the chance to witness this exceptional performance and grab a front-row seat for maximum interaction and immersion. It's a journey you won't soon forget - and trust me, you'll be talking about it for days to come! Tickets Available Here Photos by Jeremy Veenstra

An 80s Hits and Memories Cabaret by Jessica Bradford and Helen Bradford Audition Details: Date: Sunday, 2nd June Time: 1:00pm - 4:00pm Location: Burpengary State Secondary College, 192 Pitt Rd, Burpengary QLD 4505 Audition Form: To register, please fill out the audition form Preparation: Group Song: Learn the lyrics to "Footloose" by Kenny Loggins. Solo Audition Piece: Prepare at least one of the following songs: "Holding Out for a Hero" - Bonnie Tyler "Old Time Rock and Roll" - Bob Seger "Danger Zone" - Kenny Loggins "Wake Me Up Before You Go-Go" - Wham Dress Code: Wear comfortable clothing suitable for dancing. Show Dates: Friday, 30th August Saturday, 31st August Sunday, 1st September Friday, 6th September Saturday, 7th September Sunday, 8th September Additional Information: For more details, contact: info@nbtc.com.au

Audition Dates: Sunday, 26th May 2024: 7:30pm - 9:00pm Thursday, 30th May 2024: 7:30pm - 9:00pm Venue: Sandgate Town Hall, Cliff and Seymour Street, Sandgate QLD 4017 Audition Format: No preparation needed. Cold reads will be conducted at the auditions. Performance Dates: Friday, 16th August Saturday, 17th August Sunday, 18th August (matinee) Friday, 23rd August Sunday, 25th August Rehearsal Schedule: Start Date: Thursday, 6th June 2024 Time: 7:30pm - 9:30pm Frequency: Most Mondays, Thursdays, and Sundays throughout June, July, and early August. Location: Sandgate Town Hall The full rehearsal schedule will be provided at the audition. For further information, contact Chris on 0403 886 458 or Visit Sandgate Theatre Inc. Plays and Character Descriptions: ‘Box and Cox: A Romance of Real Life in One Act’ by John Maddison Morton (written 1847) Roles: Box: Male, 30-50 Cox: Male, 30-50 Mrs Bouncer: Mature-looking female Synopsis: Box and Cox unknowingly rent the same room due to their opposing work schedules. Their eventual meeting reveals unexpected commonalities. ‘Yesterday’ by Colin Campbell Clements (written 1923) Roles: General: Male, who can look to be in his 60s Beloved Lady: Female, who can look to be in her 60s Synopsis: A misunderstanding keeps a couple apart for forty-one years. They meet again at a ball and slowly recognise each other, reigniting old feelings. ‘A Matter of Husbands’ by Ferenc Molnar (written 1923) Roles: Young Lady: Female, 18-40 Actress: Female, 18-40 Synopsis: A young wife suspects her husband of infidelity with an actress. The actress cleverly persuades her otherwise, but the truth remains ambiguous. ‘Ashes to Ashes’ by Jill Curran Roles: Sister 1: Female, 40s-60s Sister 2: Female, 40s-60s Commodore: Male, 40s-60s Synopsis: Two sisters debate over their father’s ashes, only to find out he had made unique arrangements with the local Yacht Club, resolving their conflict. ‘A Stab in the Art’ by Paul Hannah Roles: Art Critic: Female, mid 40s-early 50s Friend: Female, mid 40s-early 50s Gallery Worker: Male, mid 40s-early 50s Synopsis: At an art gallery, an art critic and her friend clash over opinions and personal matters, complicated by the gallery worker’s revelations about the artist.

Audition Date: Sunday, 28th July 2024 Venue: Javeenbah Theatre, Stevens St, Nerang QLD Time: Arrive at 1:30pm for registration in the bar area. Auditions begin at 2:00pm sharp in Sophie’s Space. Audition Format: Open audition. Self-tape submissions are not specified; attendance in person is required. How to Prepare: Audition Pieces: Available upon request. Contact Dawn China via phone (0413 666 815) or email (dawn.china@bigpond.com). Required Materials: Bring a headshot and a bio detailing your theatre work to date. Commitment: Ensure availability for all rehearsals and performances. Inform Dawn of any pre-existing commitments during the rehearsal period. Important Dates: Read-through: Sunday, 4th August at 2:00pm (at Dawn China’s home) Rehearsals Begin: Sunday, 11th August at 2:00pm Regular rehearsals: Sunday afternoons, Monday evenings, and either Wednesday or Thursday evenings. From 15th September to 22nd September, Sunday rehearsals will be at 10:00am. Stage Bump In: Monday, 30th September Performance Dates: Opening Night: Saturday, 23rd November at 7:30pm First Matinee: Sunday, 24th November at 2:00pm Additional Performances: Friday, 29th November at 7:30pm Saturday, 30th November at 7:30pm Second Matinee: Sunday, 1st December at 2:00pm Friday, 6th December at 7:30pm Closing Night: Saturday, 7th December at 7:30pm (followed by cast/crew party) Stage Bump Out: Sunday, 8th December Character Descriptions: Pearl (55-60): The eldest of the group, acts as a maternal figure but reveals vulnerability during the trip. Jan (45-50): Conflicted about her relationship with Joe, she is a constant worrier. Shelley (25-30): A glamorous, materialistic woman who reconnects with her humble origins during the trip. Linda (25-30): A philanthropic young woman who delivers some of the most poignant lines. Joe (45-50): The former supervisor and Jan’s love interest, navigating obstacles to reunite with her. Supporting Male Roles: Various smaller roles including a flight attendant, drag queens, a firefighter, and more, divided among 2 or 3 male actors. Accents: Yorkshire accent required for Pearl, Jan, Shelley, Linda, and Joe (can be coached). Australian accent required for other male roles. Plot Summary: "Ladies Down Under" follows the four women from "Ladies’ Day" as they travel to Australia after winning big at the races. Their journey is filled with humour and touching moments as they explore the Gold Coast, Uluru, and Sydney’s Mardi Gras, facing various challenges and experiencing personal growth. For more details and to download the audition pack, visit: Javeenbah Theatre Auditions For questions or to request audition pieces, contact: Dawn China (Director) Email: dawn.china@bigpond.com Phone: 0413 666 815

Queensland Theatre is casting for the role of Bronson Twist in "Round The Twist: The Musical." This is an open casting call for Brisbane-based young male actors. Role Description: Character: Bronson Twist Age: 9-12 Requirements: Strong and confident stage presence Strong singing voice (Range: Bb3 – D5) Musical theatre experience desired but not essential Australian accent Key Dates: Application Deadline: Wednesday, 5 June 2024 In-Person Callbacks: Weekend of 15/16 June 2024 Rehearsals: Start week commencing 16 September 2024 Full Cast Rehearsals: Start week commencing 30 September 2024 First Preview: Tuesday, 12 November 2024 Opening Night: Friday, 15 November 2024 Final Performance: Sunday, 1 December 2024 (Possible extension until Sunday, 8 December 2024) Application Instructions: Audition Pack: Download Here Identification Shot: Full body shot with name, height, age, and agent (if applicable). Audition Scene: Prepare the provided scene from the audition pack. Song Extract: Prepare the last 18 bars of one of the songs from the show, using the provided backing track. Submit the three separate files via WeTransfer to casting@queenslandtheatre.com.au. Include a contact person and phone number in the message.