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General Information Villanova Players welcomes participation from all members of the community, encouraging applications from people of diverse backgrounds, abilities, and experiences. We are holding auditions for our upcoming production of Oscar Wilde's classic comedy, "The Importance of Being Earnest", directed by Leo Bradley. Join us for this exciting production and bring Oscar Wilde's timeless characters to life on stage! Audition Details Date and Time: Sunday, 16 June 2024, 11:00 am - 12:30 pm Location: Ron Hurley Theatre Additional Auditions: If necessary, callbacks will be held on Tuesday, 18 June, and Thursday, 20 June from 7:30 pm - 9:00 pm Performance Dates: 23 August - 1 September 2024 Roles Available John Worthing: Young man, slightly insecure, keen to get on in society, madly in love with Gwendolen. (Male, 20-35) Algernon Moncrieff: His best friend, a journalist, no insecurities whatsoever, Gwendolen’s cousin, musical, overly educated, always eating. Falls unexpectedly for Cecily. (Male, 20-35) Rev. Canon Chasuble: Local clergyman, opinionated, lectures a lot, a sermon for every occasion (often the same one). (Male, 50-75) Lane, Manservant/Housekeeper or Cook: Much put-upon butler to Algernon, a man with a past – could be a housekeeper and female. (Any gender, any age) Merriman, Butler/Housekeeper: Senior servant at John’s country estate, exhausted trying to run after young Cecily. (Any gender, any age) Gwendolen Fairfax: John Worthing’s intended, romantic, always the centre of attention, enjoying the hunt for a husband but has her own list of desirable attributes, deeply shallow. Attracted to John because she thinks his name is Earnest. (Female, 18-26) Cecily Cardew: John Worthing’s exceptionally pretty ward, romantic and wild, passionate, imaginative, overly educated in geometry and political economy. Devoted to pressing flowers and keeping her diary. (Female, 18-22) Servants: Various servants needed for both houses, especially Moulton the gardener, valets, parlour maids, etc. Involved in the physical comedy of scenes and mopping up afterwards but do not have many lines. (Any gender, any age) Note: The roles of Lady Bracknell and Miss Prism have already been cast. How to Audition Download the Audition Pack: Audition Pack Prepare a Monologue: A short 1 to 2-minute monologue, preferably comic. You can choose from any work, though we suggest pieces by Oscar Wilde, Bernard Shaw, or Noel Coward. Some suggestions are included in the audition pack. Attend the Audition: Be prepared for a short reading of some scenes with other auditionees. Rehearsal Schedule Rehearsals Start: Tuesday, 25 June 2024 Rehearsal Days: Tuesdays and Thursdays from 7:30 pm - 9:30 pm, and Sundays from 11:00 am - 4:00 pm Tech Week: 18-22 August 2024 Performance Dates Friday, 23 August 2024: 7:30 pm Saturday, 24 August 2024: 2:00 pm and 7:30 pm Sunday, 25 August 2024: 2:00 pm Friday, 30 August 2024: 7:30 pm Saturday, 31 August 2024: 2:00 pm and 7:30 pm Sunday, 1 September 2024: 2:00 pm Contact Information Email: info@villanovaplayers.com Phone: 0423 920 832 Expression of Interest If you are unable to attend the audition but are still interested in participating, please complete the Expression of Interest Form.

Ten Reasons to Celebrate Women in Theatre is an exciting showcase of ten one-act plays, each celebrating the contributions and talents of women in the world of theatre. This unique event promises an evening filled with diverse stories and compelling performances. Event Details Date: 19th September 2024 Location: PIP Theatre, Milton Audition Information Date and Time: Saturday, 25th May at 2:30pm Registration Deadline: 22nd May 2024 How to Audition To audition for Ten Reasons: Email nicky@nickywvoices.com to request a full audition pack and registration form. Prepare for your audition based on the guidelines provided in the audition pack. Attend the audition at the scheduled time and showcase your talent! This production is a profit-share arrangement, so participants will share in the proceeds from the event. It's a fantastic way to gain experience, collaborate with fellow artists, and celebrate women’s contributions to theatre. Don’t miss this chance to be part of an empowering and inspiring evening at PIP Theatre. Email nicky@nickywvoices.com today to secure your audition slot!

Can you walk me through your journey in the entertainment industry, from your beginnings to launching your company? Josh: I started out as a live musician, was in a band, and did the Triple J thing, before getting into acting as well. I studied Pop Music at uni, as well pursuing acting credits. After being involved in musicals such as Songs for a New World (Man 1), Hair (Hud), Little Shop of Horrors (Audrey II), and Legally Blonde (Emmett), just to name a few, I began combining my singing and acting skills by writing cabarets for fringe, cabaret, and other festival circuits. I continued to do this for many years, eventually realising I was producing my own work. In October 2022, I launched JDProCo after providing over 30 artists with opportunities in the world of theatre, cabaret, and concerts that aligned with my past projects. That's a fantastic achievement! Building on that, could you share what inspired you to start JDProCo? I'm curious about how you balance the various responsibilities involved in running your own company while fostering the growth of the artists in your creative projects. Josh: When you create something like a company, your role involves wearing many hats, as well as being the face of your work. JDProCo naturally evolved from my desire to create, collaborate, and provide opportunities for my peers and network, all while expressing myself on stage. I produce according to my own tastes, which are influenced by my love for musical theatre, mid-00's jams, singer-songwriters, and festive holiday tunes. My approach to nurturing artists is simple: I ask them what they want to achieve. Working primarily with actors and music theatre artists, I understand that it can be a daunting experience at first, as they are conditioned to follow directions and do what they are told (E.g. “stand on this light, hit this mark by this line, don’t use vibrato in this section”). I trust the artists to make their own choices and then I collaborate with them if they need guidance, feedback, or even just validation that they are doing an excellent job. It is incredibly rewarding to witness them making great choices and unlocking that part of their creativity. Can you tell me about some of the projects you've launched with JDProCo, and how they reflect your vision for the company? Josh: We are well-known for our annual Broadway, So Millennial, and Christmas shows. A labour of love that I launched this year, called SING!, is aimed at spotlighting singer-songwriters, musicians, and singers who have taken a break from the industry and are looking to make a comeback in an intimate setting. By the end of 2024, we will have produced 9 events across these four projects. Starting out as a singer-songwriter myself, this was a small way of giving back and providing a platform within the community that doesn’t require as much pressure to be “industry oriented” but rather just a space for artists to express themselves. It has been interesting to build an audience for this project outside of the theatre community, but I am excited to see how JDProCo can extend its reach with a multi-genre approach. That sounds like a wonderful new project, Josh. I'm interested in the inspiration behind the rebranding of your Broadway events this year. Can you share how the idea came about and the collaboration with PiP Theatre? Josh: The idea of rebranding has been in talks with my nearest and dearest since our last Broadway event in October 2023. The event started in April 2021 as a way for myself and my friends to return to the stage after the negative effects of Covid in 2020. The formula involved artists performing three songs each in a set, like their own mini cabaret. We have hosted six editions of Broadway in the Dock and over time, the show naturally evolved into a more curated experience resembling a traditional production, complete with acts and ensemble numbers. Without hyperbole, I have a deep love for PiP Theatre - they had been knocking on my door to collaborate on something, and when the time came for rebranding, we finally had the meeting. We chatted about what I wanted to achieve for the event, and ultimately decided to co-produce the rebranding, resulting in what is now known as The Broadway Jam. Absolutely, the return of live theatre has been such a gift. So, what's in store at The Broadway Jam? Can you give us a sneak peek into the whole experience? Josh: Attendees can expect high excellence from performers who are either working professionally or rising in their emerging status. The experience has a very “downtown” feel and is curated evenly with both production value and a focus on the heart of the show, which is “piano and voice,” showcasing each artist with their voice as their instrument and storytelling vice. The event offers a Broadway experience spanning different genres from Sondheim to Kander and Ebb, to Lin Manuel Miranda and Jason Robert Brown. You will also hear some songs in a different way. We LOVE arranging well-known Broadway songs to offer a new sound for the audience. Some artists will also showcase their skills playing their own instruments during The Broadway Jam - we are literally creating a jam session and taking our audience along for that ride. Let's talk about the magic behind the scenes. Could you provide more detail on the collaborative process with artists and creatives when curating events like The Broadway Jam? Josh: The process varies for each artist; I am involved as a collaborator and will curate the show based on the artists' choices. Additionally, I seek input and guidance from our accompanist to collaborate on music direction decisions, which makes it all very fulfilling. Our timeline is quite short since many of the artists I work with have multiple other creative commitments going at the same time. So, it is a tight ship that I must get over the finish line each time. Fortunately, the people I work with are focused, professional, and enthusiastic about contributing to the process. Shifting gears a bit, I'd love to hear about some memorable moments from past productions and events hosted by JDProCo. Josh: The last Christmas show was a huge moment for both myself and the company. It featured a 16-piece band and was put together in just five rehearsals. It was truly fulfilling for me, as I am heavily involved in the arrangements alongside my collaborator, Paula Girvan. Seeing everything from my imagination come to life was an absolute thrill. We had our best audiences yet, and the entire band walked away feeling so chuffed with what we achieved. The band has become like a family of exceptional people, and it is an honour to captain that ship every December. As we approach our 5th anniversary of the Christmas show, we plan to make it even bigger this year! It's clear that you have created some truly special experiences for both performers and audiences alike. Looking ahead to the future, what is your vision for the role of JDProCo in the musical theatre scene in Brisbane and what sets it apart within our arts community? Josh: I envision the role of JDProCo in our industry as a platform for music theatre artists to discover new things about themselves and find out the artist they want to be. JDProCo focuses on the artist and creating an environment that hands the power to them. We are creating something that truly does feel like an opportunity, in its many facets, for the creative individual. And each time we want to build our audience (and almost educate them on what a music theatre experience can be like), it is always in a space that isn’t a traditional theatre building. If this experience challenges, inspires, and validates their passion for performing, then I feel we have achieved wondrous success. I'm sure aspiring artists would love to hear your insights and advice for breaking into the industry. What guidance would you offer to those looking to pursue their dreams in musical theatre? Josh: My advice at the moment would be to prioritise creativity and strive for a path that allows you to express yourself unapologetically. The industry is also known as show BUSINESS for a reason, so don’t be afraid to ask tough questions to individuals you perceive as successful about finances, contracts, and protocols. It is crucial to become a knowledgeable artist who can navigate the industry's incredible highs and lows and possessing this knowledge will aid in building your resilience. That is such a good point. I'd love to hear more about what personally drives you and keeps you passionate about your work in the theatre industry. What aspects of your role do you find most fulfilling, and what keeps you motivated to continue creating and inspiring others? Josh: My main motivation, and please discuss this with me if you do not like this approach - but I am very driven by the notion that I simply do not want "this" to end. I am 100% irrevocably in love with being artistic and creative. My purpose and duty are to create work, inspire work, and most of all, be fulfilled by what I do. This drive never leaves me, even when I am exhausted and burnt out at times. I am very privileged to lead a team of individuals who eagerly step forward when the call to "create a project" arises once again. In addition to my personal drive (which is obscenely high), I am also driven by the creatives I have surrounded myself with who share the same passion for this work. It is this consistent collaboration that ultimately drives my fulfilment. All I am chasing is exactly that. It's wonderful to see someone so deeply committed to their craft and driven by the simple desire to keep creating. This not only ensures longevity of your projects but also fosters a sense of purpose that is invaluable in the creative industry, making JDProCo a beacon of inspiration for both artists and audiences alike. Keep chasing that dream, Josh! [The Broadway Jam plays at PiP Theatre June 28 & 29, 2024] Tickets Available Now

Roar Academy's production of Finding Nemo Jr. at Theatre 102 in Redcliffe was a delightful dive into an undersea world of fun! This timeless Pixar story of Marlin, an anxious clownfish, and his adventurous child Nemo, was brought to life by the talented young cast with a blend of humour, emotion, and musical moments. From the opening number, 'Big Blue World,' the strong ensemble vocals set the stage for a captivating performance that had the audience hooked (no pun intended). The sea creature costumes were an adorable addition to the underwater setting, giving us a delightful treat from the moment they “swam” onto the stage. Toby Bailey's portrayal of Marlin was touching, while Daya Sudhi shined as Nemo with her beautiful vocals and stage presence. Her solo, ‘Where’s My Dad,’ showcased her strong musical theatre voice, making her a standout lead at such a young age! Zoe Hitchcock as the forgetful Dory made a splash with her energetic entrance and kept those energy levels high with her bubbly performance. Her rendition of 'Just Keep Swimming' was a vocal challenge that she tackled with impressive gusto. Ava Collett as Gill delivered a stunning vocal performance in 'We Swim Together,’ leaving me wishing I could hear more from her. Tyler Haynes as Nigel, Kirill Yaremchenko as the tourist, and the lively seagulls clearly had the most fun of anyone on stage. Their enthusiasm was infectious and added that extra layer of enjoyment every time they showed up. ‘Fish are Friends’ was jazzy delight, complete with tap-dancing sharks! A little tip to the ensemble - keep your beautiful faces up and engaged! Even if you are finding the choreography challenging or easy, it’s crucial to avoid looking at the ground. Your shining faces are a vital part of the performance’s energy. The Act 2 opener, 'Go With the Flow,’ was a definite highlight. Mia Dacey as Crush embodied the easygoing sea turtle and handled a vocally challenging song excellently. I can’t help but wonder where they found 17 turtle onesies (and where I could get one for myself). That number was a joy to watch and undoubtedly a favourite for many. The heartfelt conclusion of the show left hearts full and eyes misty, creating an atmosphere of shared pride. Overall, Finding Nemo Jr. was a success, featuring charming young performers, imaginative costumes, and a heartwarming story that left smiles on everyone's faces. Congratulations to the cast and crew for crafting such a memorable experience for all involved! I look forward to seeing what they do next!

A Riveting Modern Take on "Twelve Angry Men" Sandgate Theatre Inc. delivers a gripping rendition of "12 Angry Jurors", enveloping the audience in the intense deliberations of a diverse jury as they decide the fate of a teenager accused of murdering his father. Each character, identified only by juror number, grapples with their biases and preconceptions as the tension escalates. The gradual evolution of opinion, spurred by Juror 8's unwavering commitment to justice, is a testament to the importance of standing up for what is right, even in the face of overwhelming opposition. If you, like me, remember studying the original play, "Twelve Angry Men", from high school, you'll notice some changes in this modernised Australian adaptation. First off, there are four men and eight women on the jury this time, and instead of a death sentence, it's life in jail on the line. This alteration provided a new perspective to the narrative, especially with women taking on most of the lead roles. Set in the round, with the jurors’ conference room at its centre, the immersive staging cleverly placed the audience within the heart of the action. Despite the inherent challenges of projecting their voices without microphones in a reverberant space, the cast rose to the occasion by amplifying the intensity of their discussions. Meticulously selected for their roles, the cast delivered wonderful performances that brought the jurors to life with authenticity and conviction. Their ability to convey the nuances of their characters from the subtle movements to the impassioned monologues, ensured that even those jurors with their backs to the audience remained compelling and believable throughout. Meg Kiddle's portrayal of Juror 8, the voice of reason, was particularly compelling. Kiddle's frustration and determination were palpable, even as her back was turned to me. She served admirably as the impartial anchor amidst the turmoil. Jeremy Wellwood, Greg Jones, Nicky Whichelow, and Carmen Heath also left a lasting impression as they navigated complex character emotions with finesse. Wellwood, as Juror 4, delivered a performance marked by restraint and intelligence. His measured demeanour provided a counterbalance to the heightened emotions swirling around him. Jones, in the role of Juror 7, dominated the proceedings with his charismatic presence and obnoxious demeanour of his character. Heath's interpretation of Juror 10 captured the odious character's bigotry and insecurity, serving as a sobering reminder of the impact of unchecked biases on the pursuit of justice. Whichelow's portrayal of Juror 3 was a tour de force of raw emotion and vulnerability as she navigated the character's journey from obstinacy to introspection. Special mention must be made of Catherine Radbourne, who skilfully directed the production and showcased her talent on stage as Juror 12. Her direction imbued the play with a sense of urgency and authenticity, while her performance added moments of lightness to the tense narrative. Radbourne's keen understanding of the material brought out the best in her cast, resulting in a cohesive and compelling performance from all. Overall, "12 Angry Jurors" is a must-see for anyone craving a night of gripping drama. The production captures the essence of a real-life courtroom drama, keeping me on the edge of my seat for most of Act 2! I recommend securing a central seat for the best view of the action and prepare to be thoroughly engaged by this modern take on a classic tale. (Note: The play contains themes of domestic violence and murder, which may be distressing to some audience members.) Purchase Tickets Here

About the Production: Death by Design Death by Design is a mash-up of Noël Coward’s wit and Agatha Christie’s intricate plotting. Set during a weekend in an English country manor in 1932, the story follows playwright Edward Bennett and his actress wife Sorel Bennett who flee London after a disastrous opening night. Unexpected guests, each with a long-held secret, arrive. When one guest is murdered, it's up to Bridgit, the feisty Irish maid, to solve the crime. Meet the Production Team Grace Crichton – Director Rowan Nash – Director Brian Crichton – Production Manager Marina Crichton – Production Manager Important Dates Audition Forms Due: Midnight, 14 June 2024 Audition Dates: 15 and 16 June 2024, from 10am to 3pm at My Care Physio, 16 William St, Gatton Callbacks: 19 June 2024 Rehearsal Start Date: 23 June 2024 Tech Week: 12 October to 16 October 2024 Performance Dates: 17 October 2024: evening performance 18 October 2024: evening performance 19 October 2024: matinee and evening performance Rehearsal Information Regular Rehearsals: Saturdays from 23 June to 5 October, plus weeknights in the week before opening night. Location: St. Alban’s Church, Cnr. Railway and Spencer Street, Gatton. Tech Week and Performances: Gatton Shire Hall, 52 North Street, Gatton. Audition Information How to Register: Please email rororeednash@gmail.com or direct message LRPA via Facebook or Instagram with: Your Name Your Mobile Number Your Email Address The role(s) you wish to be considered for Your preferred audition day and time Preparation: Prepare for a cold read from a selection of sides provided at the audition. No memorisation required. Audition sessions will be roughly 15 minutes long. Notify by June 19 with outcomes. Character Breakdown Bridgit: The maid; grumpy but observant. An older woman with a heart of gold who fancies herself a detective. Jack: The chauffeur; a charming womaniser with a troubled past. Edward: The playwright; vain and self-important, believes his work rivals Shakespeare. Sorel: The actress; dramatic and somewhat ditzy, in competition with another actress. Walter: The politician; stiff, well-to-do man who wants to maintain the status quo. The victim. Victoria: The bohemian; an artist and Sorel's close friend, inspired by all art forms. Eric: The radical; politically minded, expresses beliefs with fervour. Alice: The visitor; a shy young girl who is revealed to be blind. Contact Information Email: info@lrpa.org.au Web: www.lrpa.org.au Facebook: LockyerRegionalPerformingArts Instagram: @lockyerregionalperformingarts

This adaptation of William Golding's classic novel offers a unique twist: all characters will be portrayed by women. This decision allows us to explore themes of power, leadership, and the complexities of human nature through a fresh and dynamic lens. We are seeking talented performers who are passionate about storytelling, character development, and collaborative creativity/devising. We encourage you to bring your unique interpretation and energy to the audition. PRODUCTION TEAM Director: Joshua McCann-Thomson Assistant Director: Bianca Riek Fight Choreographers: Flynn Anderson & Ethan Robinson Costumes: Millie Talbot ABOUT THE PLAY Lord of the Flies, based on the classic novel by William Golding, follows a group of British students stranded on a deserted island after their plane crashes. As they struggle for survival, their society descends into chaos, revealing the dark aspects of human nature. The play explores civilisation vs. savagery, the loss of innocence, the nature of power, and the inherent evil within humanity. This production will offer a fresh perspective on these themes by having all characters portrayed by women. CHARACTERS Ralph: Elected leader among the group. Charismatic, idealistic, and determined to maintain order and civility. Jack: Antagonist. Head of the choir group turned hunters. Ruthless, authoritarian, and consumed by a desire for power. Piggy: Loyal friend. Intelligent, resourceful, and physically vulnerable. Often ridiculed by the others. Note: This character is remarked as being robust in build. Roger: Right-hand, sadistic, and violent. Revels in causing pain and chaos. Sam: One of the twins. Loyal to Ralph. Easily influenced by stronger personalities. Eric: The other twin. Closely bonded to Sam. Often indistinguishable from their sibling. Simon: Quiet, introspective. Deep connection to nature and spirituality. Represents goodness and purity. Henry: One of the younger ones. Innocent and unsuspecting, often caught up in the older ones' antics. Maurice: One of Jack's followers. Initially playful and mischievous but becomes increasingly savage. Bill: Another member of Jack's group. Strong and aggressive, eager to hunt and exert dominance. Perceval: One of the younger ones. Often lost in his own world, innocent and naive. Peter: Represents the vulnerability of the youngest ones. Easily scared and dependent on the older ones for protection. Robert: Another member of Jack's group. Quick to follow orders and exhibit aggressive behaviour. Naval Officer: Represents rescue and the outside world. Discovers the group at the end of the play. REHEARSAL INFORMATION Tuesdays and Thursdays: 7pm - 10pm Sundays: 2pm - 6pm Closer to the show opening, we will likely start at 6:30pm, and a few all-day Sundays as opening night approaches. Rehearsals will start on Thursday, 20th June 2024. The season runs from 31st August to 21st September 2024, with shows on Friday and Saturday nights and Sunday matinees. AUDITION INFORMATION Audition Forms Due: Midnight, 14 June 2024 Audition Date: Sunday, 16 June 2024, 10am - 5pm Location: Gold Coast Little Theatre, 21a Scarborough St, Southport (Behind the Westpac Bank building) Callbacks: Tuesday, 18 June 2024, 7pm How to Register Please register your audition through the form on the Gold Coast Little Theatre website. For your audition, please prepare a short monologue of your choosing from the provided list in the audition pack. We will email you with your audition slot. You can also get familiar with callback materials using the provided links. Contact Information If you have any questions, please email us at lordoftheflies@gclt.com.au. For further details and to download the audition pack, visit the following links: Audition Pack Audition Registration Form

ABOUT THE PRODUCING TEAM Riley Cope and Marina de Jager are teaming up again to bring this cult musical to the Caloundra Events Centre this Halloween. With past productions including Young Frankenstein, Beauty and the Beast, Aladdin, and Oliver, they have collaborated on numerous musicals over the years on the Sunshine Coast. Join Riley and Marina as they bring Westerburg High School to life this Halloween. This is a community-driven project and will be a voluntary performance opportunity. ABOUT THE SHOW Heathers: The Musical is a captivating adaptation of the beloved late 1980s cult film. Set in the fictional Westerberg High School, the story follows Veronica Sawyer as she navigates the treacherous social hierarchy dominated by the ruthless clique of popular girls, the Heathers. Veronica's journey intertwines with that of the rebellious outsider JD, leading them on a mission to confront bullies within their school. However, their actions quickly spiral out of control, leading to dire consequences. Through catchy tunes and sharp humour, the musical explores themes of adolescent turmoil, peer influence, and the search for belonging. KEY DATES Audition Application Due: Friday, 6 July 2024 Auditions - Leads: Saturday, 13 July 2024 from 9.30am - 4.30pm Auditions - Ensemble: Sunday, 14 July 2024 from 9.30am - 10.30am Callbacks: Sunday, 14 July 2024 from 1.00pm - 3.00pm Rehearsals: From 4 August 2024 to 28 October 2024 on Thursday nights from 6.30pm - 9.00pm and Sundays from 2.00pm - 6.00pm, and closer to Production from 10.00am - 6.00pm in Mountain Creek. Note: You may not be required for all rehearsals. A full rehearsal schedule will be provided at the time of casting. Performances: Preview: Tuesday, 29 October 2024 / Wednesday, 30 October 2024 (Dependent on sales and final number of performances) Thursday, 31 October 2024 at 7pm Friday, 1 November 2024 at 7pm Saturday, 2 November 2024 at 2.00pm and 7pm Sunday, 3 November 2024 at 1pm and 6pm (Dependent on sales and final number of performances) AUDITION INFORMATION We ask that all auditionees attend both a singing/acting audition and a dance audition. Please note this will require booking two audition slots. Performers must be 18+ when applying and have access to transport. We strongly encourage BIPOC performers and people of diverse backgrounds to apply. We welcome anyone to audition for any role. Heathers is a dark comedy that delves into sensitive topics such as sexuality, mental health, murder, and suicide, often with a touch of humour. While we believe these themes are important reflections of real life in art, we acknowledge that they may be triggering for some individuals. Rest assured, the production of Heathers will be conducted in a safe and controlled manner, with sensitivity towards the material. However, if you have any concerns about the aforementioned elements while auditioning or being offered a role, please feel free to discuss them with the production team before making any commitments. Leads Audition Schedule: Saturday, 13 July 2024 9.30am - 11.30am: Individual Lead Singing/Acting Auditions 11.30am - 12.15pm: Dance Audition 1.00pm - 2.30pm: Individual Lead Singing/Acting Auditions 2.30pm - 3.15pm: Dance Audition 3.30pm - 4.30pm: Individual Lead Singing/Acting Auditions 4.30pm - 5.15pm: Dance Audition Ensemble Audition Schedule: Sunday, 14 July 2024 9.30am - 12.00pm: Group Singing, Acting and Dancing Auditions CHARACTER SUMMARY Read the Character Summary below to pick a character that best suits you. Please prepare the material relevant to your character. If you are applying for multiple characters, please only pick one scene and song when preparing for your audition. LEAD CHARACTERS (All 17 years old) VERONICA SAWYER: She burns to be both cool and kind, but doesn’t know yet how to be both at the same time. Fierce sense of right and wrong, keen sense of ironic humour. Thinks she's an old soul, but she's still innocent enough to be blindsided by love/hormones (or shocked by cruelty). Voice: High belting required, up to Ab. Must have dynamic and stylistic range. Click here for audition pieces. JD: He is darkly charismatic, compelling, attractive, charming on the outside yet very damaged on the inside. Keen smarts and strong inventive comedy. Voice: Strong, confident belt to at least an Ab, A preferable; wide emotional range. Click here for audition pieces. HEATHER CHANDLER: Richest, hottest, most magnetic, cruellest girl in town. Relishes power and wields it like a scalpel – no fear, no patience, no mercy. Voice: Strong belt to F or higher preferred. Mezzo for chorus. Click here for audition pieces. HEATHER MCNAMARA: Beautiful, innocent, stupid, can be mean on command if Heather Chandler orders it, but actually quite vulnerable and fearful. Voice: Strong belt to Db, D preferred. Soprano for chorus. Click here for audition pieces. HEATHER DUKE: Whipping-girl of the 3 Heathers. When she finally becomes Queen Bee she wields power like a bulldozer. Voice: Strong belt to C, D preferred. Alto for chorus. Click here for audition pieces. MARTHA DUNNSTOCK: Nicknamed “Martha Dumptruck”, the opposite of hot, confident, or popular. Huge and beautiful soul, optimistic even in the face of rejection. Voice: Strong belt to E or F, wide vocal expression. Click here for audition pieces. RAM SWEENEY: Linebacker. Big, insensitive to the feelings of others, ruled by appetites. Voice: Strong Baritone, belt to G, some Falsetto useful. Click here for audition pieces. KURT KELLY: Quarterback and Captain. Big, chiselled, rude, entitled, cocky. Mean, thinks he’s the brains in the friendship with Ram. Voice: Tenor, strong belt to Ab or A, some Falsetto. Click here for audition pieces. POTENTIAL DOUBLE CHARACTERS Ram’s Dad, Big Bud Dean, and Coach Ripper These roles may be played by one actor or split among multiple actors at the discretion of the Creative Team. RAM’S DAD: Former football player turned suburban Dad, has never outgrown his glory days in high school. Hates weakness, but capable of soul-searching when tragedy strikes. Voice: Baritone/Tenor – power Country/Gospel belt to Ab, higher welcome. BIG BUD DEAN: JD’s single Dad. Big jolly personality that barely conceals the enormous rage bubbling just below the surface. Quite possibly a serial bomber. Voice: Baritone/Tenor – power Country/Gospel belt to Ab, higher welcome. COACH RIPPER: Stalwart, man’s man; quick to defend his players. Voice: Baritone/Tenor – power Country/Gospel belt to Ab, higher welcome. Click here for audition pieces. Ms Fleming and Veronica’s Mom These roles may be played by one actor or split among multiple actors at the discretion of the Creative Team. MS. FLEMING: Ageing hippie teacher, still yearning for the day the Age of Aquarius reaches Ohio. Hungry for the spotlight, resentful of entitled youth. Voice: Great belt up to C, higher always welcome. VERONICA’S MOM: Easygoing, distant, yet capable of laying down the law. Voice: Great belt up to C, higher always welcome. Click here for audition pieces. Kurt’s Dad, Veronica’s Dad, and Principal Gowan These roles may be played by one actor or split among multiple actors at the discretion of the Creative Team. KURT’S DAD: Straight-laced, very conservative, also a former football player. A simple guy, not book smart, you’d be happy to share a beer with him. Voice: Strong Baritone/Tenor -- power Country/Gospel belt to G, even higher is better. VERONICA’S DAD: Easygoing and distant. Voice: Strong Baritone/Tenor -- power Country/Gospel belt to G, even higher is better. PRINCIPAL GOWAN: Rumpled, burned out, hates conflict. Voice: Any voice type. Click here for audition pieces. ENSEMBLE We are looking for a small yet strong ensemble to help bring the show to life! As an integral member of the ensemble, you will sing, dance and act your way through the show as multiple characters in fabulous costumes. We also have featured ensemble roles available. All vocal types are welcome. Click here for the audition pieces. AUDITION APPLICATION To apply for an audition, please book and complete the Application Form by COB on Saturday, 6 July. Please note that you will be required to upload your performance CV and headshot upon receiving the confirmation email. A confirmation email from Trybooking will be sent after the completion of this booking. Further communication from the Heathers team will be sent from copeanddejagerpresents@gmail.com. For the full audition pack and more details, please refer to the provided Audition Pack.

Audition Information: Previous Applicants and Performers: If you have previously applied or performed with ANATM, you are already in our talent pool and do not need to reapply. However, if you have new videos or material to showcase, please email us! New Artists: For those interested in joining our talent portfolio for this event, please email us at brisnightatthemusicals@gmail.com for submission details. Event Details: Event Name: A Night At The Musicals - Jukebox Edition Venue: The Ron Hurley Theatre Dates: September 26th, 27th, and 28th, 2024

Audition Date & Time: Date: Saturday, June 9, 2024 Time: 1:00pm Venue: Windsor School of Arts, 381 Lutwyche Rd, Windsor Callbacks: Date: Thursday, June 13, 2024 Time: 6:00pm Production Details: Title: The Book of Will Playwright: Lauren Gunderson Directed by: Julie Bray Produced by: Jason Sharland Venue: Windsor School of Arts Hall, 381 Lutwyche Rd, Windsor, QLD 4030 Performance Dates: October 19, 20, 25, 26, 27, November 1, 2, 3, 8, 9 Rehearsal Schedule, starting July 29, 2024 Sunday afternoons, 1:30-4:30pm Mondays & Thursdays evenings, 6:30-9:30pm Character Descriptions & Ages: Henry Condell (40s): Feisty, hopeful, charismatic, and confident. A close friend of Shakespeare and an actor in the King’s Men. John Heminges (50): Serious and reasonable, also a friend of Shakespeare and the financial manager of the King’s Men. He owns the Globe Tap House. Note: This role has been precast. Richard Burbage (50s): A seasoned and renowned stage actor, loud, proud, and famous across England. Elizabeth Condell (30s): Savvy, fun, and intelligent. Henry Condell's wife and a good friend. Alice Heminges (32): John Heminges' daughter and an alewife. She is sociable, knows everyone, and enjoys hanging out with men. Rebecca Heminges (50): John Heminges' wife, strong, and busy managing their grocery business. She loves her family deeply. Ben Jonson (47): Poet laureate of England, friend, and sometimes rival of Shakespeare. He is comically pompous, playfully arrogant, and surprisingly emotional. Ed Knight (30s): Acts as the "stage manager" for the King’s Men. Serious and particular about his work. Ralph Crane (30): Humble scrivener for the King’s Men. He is quiet, introverted, but confident in his work. William Jaggard (51): A successful yet shady publisher of books, plays, and playbills. Confident, experienced, and willing to do what it takes to succeed. Isaac Jaggard (24): William Jaggard's son and heir to the business. Sensitive and artistic at heart. Marcus (20): Printer’s apprentice at the Jaggard print shop. Nosy but honest. Compositor (20): Works for Jaggard, arranging type for printing. Emilia Bassano Lanier (50): A fiery Italian feminist and poet, known for her independent spirit and love for Shakespeare. Sir Edward Dering (60): A book and theatre enthusiast. Anne Hathaway Shakespeare (60): Shakespeare's ailing wife, strong-willed and classy. Susannah Shakespeare (30): Daughter of Shakespeare, serious and well-behaved. Boy Hamlet:  A young actor. Two Barmen: Drunk ruffians. Crier: A newsboy. Fruit Seller: Seen in the streets/marketplace scenes. Bernardo, Francisco, Horatio, Marcellus: Various minor characters integral to the storytelling. How to Audition: Download the Audition pack PDF for character descriptions and rehearsal schedule. Fill out the Audition registration form. Prepare two audition pieces: one comedy and one Shakespearean excerpt (1-2 minutes each). Email headshot and acting CV to production@growltheatre.org.au. Important Notes: Age guidelines are for playing age, not actor's actual age. Neutral accents required for all characters. Diversity in casting encouraged. Familiarity with the First Folio publication story advantageous. Understudies may be selected from the main cast. Synopsis of The Book of Will: The play explores the efforts of Shakespeare's friends to compile his works into the First Folio after his death, set amidst the lively backdrop of Elizabethan London. For detailed information and to register for auditions, visit Growl Theatre's website and access the Audition pack and Audition registration form. Join us in bringing this historic tale to life on stage!

Key Dates: Auditions: May 18 - 19, 2024 Intensive Weekend: June 1 - 2, 2024 Intensive Rehearsal Weeks: June 24 - 28 and July 1 - 5, 2024 Performances: July 5 - 6, 2024 Creative Team: Director: Liam J. Kirkpatrick Musical Director: Emma Erdis Choreographer: Tamara Long Age Range: Performers aged 8-18 years About the Show: Based on the popular book series, the musical follows the adventures of preteen Greg Heffley as he navigates middle school and schemes his way to popularity. Greg encounters obstacles like his dorky friend Rowley, peculiar neighbour Fregley, and legendary playground cheese. How to Audition: Audition Form: Complete the form online at Audition Form. Ensure that a parent or guardian consents to your audition. Prepare Audition Materials: Acting: Choose and practice a relevant audition side (script excerpt) provided in the audition pack (Audition Sides). Singing: Prepare 90 seconds of a Disney song that suits your voice. Bring backing music on a phone or USB. Dance: Wear comfortable clothes and be prepared to learn a short routine during the audition. Attend Audition: Choose one of the audition days (May 18 or May 19) and attend your scheduled session. The audition will consist of acting, singing, and dancing components. Callbacks: Some roles may require callbacks on the afternoon of May 19. Registration Fee: There is a show cost of $300 for all performers, with potential scholarships available for families facing financial hardships. Characters: Greg Heffley: First-year middle schooler with a likeable yet scheming personality. Greg is both cocky and insecure, obsessed with achieving popularity. Rowley Jefferson: Greg's loveable and innocent best friend. Rowley finds joy in almost any situation and is blindly devoted to Greg. Claire: A popular girl at Greg's school who shares the legend of the cheese touch with Greg. Chirag Gupta: Greg's friend and one of the smallest kids in school. Chirag has a fast rap number in the show. Specifically seeks a BIPOC (Black, Indigenous, Person of Color) performer for this role. Patty Farrell: Greg's nemesis who excels at everything and is determined to outshine Greg. Fregley: A peculiar child who lives near Greg. Fregley is obsessed with gross things like scabs, blisters, and bugs. Joshie: A European popstar and Rowley's idol. Joshie has a song called "Animal Heart" in the show. Mom & Dad (Heffley Parents): Greg's well-meaning parents who often unintentionally annoy him with their quirks. Rodrick Heffley: Greg's older brother who is a high school student and drummer in a metal band. Manny Heffley: Greg's toddler brother who adds comedic moments to the family dynamic. C an be played by a performer up to age 10. Bryce Anderson: The most popular boy in school who sits at the top of the social ladder. Ensemble Roles: Various roles including other students, teachers, cartoon characters, bullies, and friends of Patty Farrell. Don't hesitate to reach out to Beenleigh Theatre Group or visit their website (Beenleigh Theatre Group) for more information and to register for auditions.

Join us for auditions for "Speaking in Tongues," a gripping drama exploring betrayal, lust, and longing, directed by Heidi Gledhill and produced by Ad Astra Theatre Company. AUDITIONS: Date: Saturday, 1st June, 10 AM – 3 PM Callbacks: Monday 2nd/Tuesday 3rd June, 6 PM – 9 PM To Apply: Email creatives@adastracreativity.com with your current CV (Word or Google Doc) and a RECENT colour headshot. Specify the role(s) you are auditioning for. VENUE: Ad Astra Theatre, 57 Misterton St, Fortitude Valley PERFORMANCE SEASON: 5th September - 28th September 2024 PERFORMANCE TIMES: Thurs, Fri & Sat 7:30 PM, Sun Matinees 2 PM REHEARSALS: Two weeknights 7-10 PM and one weekend day 9-5 (exact schedule to be confirmed) PAYMENT: Co-op production - actors receive a share of ticket sales after expenses. ABOUT THE PLAY: Nine lives are woven together in Andrew Bovell’s mystery-drama, Speaking in Tongues. Leon is married to Sonja; Jane is married to Pete, and one night, each spouse chances upon the other’s. Tandemly, they wind up in seedy motel rooms. While Pete and Sonja resist the one-night stand; Leon and Jane do not. Neil, a lonely man, pines for Sarah, the love of his life, who moved on decades ago. John’s wife Valerie goes missing and her stiletto is last seen in Nick’s car. The tension of love, marriage, infidelity, and trust is navigated in this tense, dramatic mystery. A complex, non-linear structure with rich language makes this play a challenging gem for experienced actors. CHARACTER BREAKDOWN: The play features a cast of four actors, each portraying two or three characters across the three parts of the production: JANE/VALERIE LEON/NICK SONJA/SARAH PETE/NEIL/JOHN - this role has already been cast LEON, Sonja's husband SONJA, Leon's wife JANE, Pete's wife, Nick's neighbour PETE, Jane's husband, Nick's neighbour VALERIE, John's wife, Sarah's therapist SARAH, Valerie's client, Neil's ex-girlfriend NICK, Jane's and Pete's neighbour NEIL, Sarah's ex-boyfriend JOHN, Valerie's husband CREATIVE TEAM: Director - Heidi Gledhill Creative Director - Fiona Kennedy Producer - Gregory Wilken